
• 



✓ 

i 



HAND-BOOK 

OF 

CALISTHEMCS AND GYMMSTICS : 



A COMPLETE DEILL-BOOK 

FOR 

SCHOOLS, FAMILIES, AND GYMNASIUMS, 

WITH 

MUSIC TO ACCOMPANY THE EXERCISES. 
Illustratcb frnm #rigin:al Jjesigns. 

By J. MADISON WATSON. 



0^ 




NEW YORK AND PHILADELPHIA: 

SCHEEMERHORN, BANCROFT & CO. 

CHICAGO : GEOKGE SHERWOOD. 

1864. 



Entered accor.linc to Act of Congress, in the year one thousand eight hundred 
and sixty-three, 
By J. MADISON WATSON. 
In the Clerk-s OfT.ce of the District Court of the United States for the Southern 
District of New York. 



Rknnik, Shea a Lind? av. Pu.ntf.d bt 

rrKRF.oTk'PErw and ELEtrritoTYi-Kna, C. A. ALVOKD, 

81. 83. A M CKNTKB-RTREET. 15 Vandovratcr-st.. 

Nkw York- New York. 



PREFACE. 



THANKS to the noble efforts of modern educators and philan- 
thropists, the community is waking up to the importance of 
special physical culture, and earnestly asking how it may best be 
secured. The purpose of the present volume is to solve this problem, 
by presenting, in a simple and well-defined form, the means of ren- 
dering physical training easy and certain to the rich and the poor, to 
persons of all ages, either individually or in classes, — thus serving as 
a companion-book to the many excellent works on mental and moral 
culture, and affording the necessary additional facilities for the acqui- 
sition of a symmetrical education, with its attendant blessings. 

Beheving that physical culture may be secured more expeditiously 
and profitably in its entirety than in " shreds and patches," the author 
has aimed to make this a complete gymnastic drill-book, with words 
of command and classes of movements systematically arranged, em- 
bracing all necessary exercises for the lungs, the voice, the organs of 
speech, the joints, the sinews, and the muscles. 

Part First, under the head of Vocal Gymnastics, is a thorough, 
comprehensive, and practical Treatise on Respiration, Phonetics, and 
Elocution, in which the principles and rules are stated in a succinct 
and lucid manner, accompanied by examples and exercises of sufficient 
number and extent to enable the student to master each point as 
presented, and acquire a distinct comprehension of the parts as a 
whole. It gives some of the choicest gems of English verse, with 
the design of combining Poetic Recitation with Calisthenics and 
Gymnastics, thus rendering this a sufficient work for advanced classes 
in Reading and Oratory. 

Part Second, under the head of Calisthenics, exhibits the most 
extended and varied course of exercises, without the aid of apparatus, 
ever published. It also embraces all needful directions, rules, and 
explanations for instructors and students ; and all varieties of mark- 
ing time, while executing the movements, by counting. Phonetics, 



4 



PREFACE. 



Recitations, and Music. Nineteen pieces of appropriate Piano-forte 
Music are introduced in tlieir proper connections. Those not com- 
posed expressly for this work are selected and arranged from the 
choicest productions of the ablest masters. To G. F. Bristow and 
H. B. DoDAvoRTH, gentlemen whose merits as musicians and composers 
are generally recognized, tlie nutlior is greatly indebted for valuable 
assistance, freely and generously aH'ordod, in this department of his 
work. He is also happy to acknowledge himself under equal obliga- 
tions to Miss C. IIuTCHixGs, of New York, for corresponding aid. 

Part Third, under the head of Gymnastics, presents more exercises 
for Wands, Dumb-bells, Indian Clubs, and Hand-rings, than all other 
books. While the single exercises, for each piece of apparatus, are 
sufficiently numerous and varied to secure the requisite simultaneous 
activity of the mental and the physical powers, and call into play all 
the umscles of the body, their classification is so perfect, that, instead 
of interfering with, they mutually support and recommend each other. 
The more beautiful and effective combined exercises are inexhaustible. 
To Professor John Wood, the proprietor of Wood's Gymnasium, 
Twenty-eighth Street, New York, one of the finest gymnasts in this 
country, the author's best acknowledgments are due for his kind 
and jKilicnt explanations of certain parts of his system ; and more 
especially for a portion of the Indian club exercises that appear in 
this work. 

All the exercises are arranged in accordance with well-known 
princijtlcs of Anatomy, Physiology, and Hygiene. They have been 
thoroughly and repeatedly tested, in gymnasiums and schools, in- 
variably securing the happiest results. 

In order to present successfully a new Sijstem of Calisthenics and 
(iyninastics, a series of Illustrations from original designs is indis- 
pensaljle. The Cuts that accompany these exercises were prepared 
expressly for this work, illustrating positions actually taken and 
movements executed l)y the author. They wxre drawn on wood by 
(tEo. G. White and E. Vkdder, and engraved by N. Orr & Co. 

As a hand-book for individuals and families, and a text-book for 
Scliools and Gymnasiums, the author believes that this work will aid 
in ])rf)inotiiiL'" tlif welfare of mankind. 

New Vohk. Nonmhcr, IHOIl 



CONTENTS. 



I. YOCAL GYM^TASTICS. 



I. RESPIRATION. 



Function of Breathing 13 

Attitude of tlie Body 15 

Exercises in Breathing 15 

Sighing. Sobbing. 16 

Gasping. Panting 17 



II. ORTHOEPY. 

Articulation 17 

Definitions. ... 17 

Oral Elements , . . . 19 

Table of Oral Elements 20 

Cognates 21 

Alphabetic Equivalents 22 

Tonic and Subtonic Combinations 23 

Tonic and Atonic Combinations 25 

Phonetic Laughter 26 

Errors in Articulation 26 

Analysis of English AVords 27 

Special Rules 29 

Exercises in Articulation 29 

Syllabication 31 

Formation of Syllables. . o , 31 

Rules for the Formation of Syllables 32 

Accent 34 

Words distinguished by Accent 35 

Accent changed by Contrast. 36 

III. EXPRESSION. 

Emphasis 37 

Rules for the Use of Emphasis 38 

Exercises 38 

Slub 40 

Exercises 41 



6 CONTENTS. 

VAGT. 

Ln-flectioxs 43 

Rules for the Use of Inflections 45 

Exercises 4^^ 

MoDrLATiox 49 

Pitch 49 

Force 52 

Quality 54 

Rate 58 

MOXOTONE 60 

Exercises CO 

PZRSONATIOX 02 

Exercise 63 

Pauses 03 

Rules for the Use of Pauses 64 

Suspensive Quantity 65 

Exercise 66 

Measure axd Rhtthm of Yerse 6S 



IV. RECITATIONS IN VERSE. 

The Oime of the East Bi/ron . 71 

The Voice of Spring: 3J/'S. Heimms. 72 

Song of the Stars W. C. Bryant. 73 

The Sailors Song B.W. ProcUr. -75 

Life in the West George P. Morris. 76 

A Psalm of Life H.W. LongfeUoic. 77 

Wliat might be Done Charlts Mackay. 78 

The Norman Baron U. W. Longfdlojr. 79 

Those Evening Bells Thomas Moore. 81 

The Blissful Day Robert Burns. 81 

When shall We Three Meet Again? Anonymous. 82 

The Wonderful " On^Hoss^Shay ' 0. TT M^mes. 83 

Hiawatha's Wooing H. W. LongfeUoic. 86 

The Swan's Nest ElizaUth Barrett Browning. 93 

She Walks in Beauty Byron. 96 

Lady Hare Alfred Tennyson. 97 

Maud Mullt r ./«//</< GreenUaf WhittUr. 100 

Tlie Rof^? and the Gauntlet John St<rUng. 103 

The Bridge of Sighs Thomas Hood. 104 

The Influence of Fanu- Joanna Bailli/'. 106 

I give my Soldier-Ik»y a Blade William McGinn. 106 

The Lyre and Sword George Lunt. 107 

Life without Free<k)m Thomas Moore. 108 

How Sleep the Brave William Collins. 109 

The Cliarge of the Liglit Brigade. . ! Alfred Tennyson. 109 

Bingen on the Rhine (^aroline Norton. 110 

The Widow and Child . .1 [fred Tennyon. 112 



CONTENTS. 



7 



Barbara Frietchie 

The Star-spangled Banner 
Tlie Flower of Liberty . . . 
Union and Liberty 



John Greenleaf Whittier. 113 

Francis Scott Key. 115 

O.W. Holmes. 116 

O.W. Holmes. 117 



II. CALISTHEIs^ICS. 



I. INTRODUCTION. 

Instruction of Assistants 119 

Commands 120 

Position of tlie Student 120 

Time and Rhytlimus 122 

Vocal Exercises witli Calisthenics 124 

Music with Calisthenics 124 

Formation of the Class 125 

Instruction of the Class 128 

Instruction of the School 129 

Calisthenic Hall 130 

Costume 132 

General Divisions 135 

II. GENERAL EXERCISES. 

Chest Exercise " 136 

Vocal Exercises 143 

Counting 143 

Phonetics 144 

Recitations 145 

Vocal Music 146 

Instrumental Music 147 

Music for Chest Exercise v 150 

Shoulder Exercise 154 

'Music for Shoulder Exercise 152 

Elbow Exercise 163 

Music for Elbow Exercise 158 

Arm and Hand Exercise 169 

Music for Arm and Hand Exercise 160 

Head and Neck Exercise 191 

Music for Head and Neck Exercise 187 

Trunk and Waist Exercise 194 

Music for Trunk and Waist Exercise 188 

Knee Exercise 199 

Music for Knee Exercise - 189 

Leg and Foot Exercise 210 

Music for Leg and Foot Exercise 206 

Combined Exercises 234 



CONTENTS. 



III. G Y M X A S TI C S. 

I. IXTKODUCTIOX. ^^^^ 

Apparatus 252 

Wamls 253 

Dmnl>-bclls 254 

Indian Clubs 256 

Rings 2G0 

Classes of Movements 261 

II. WAXD EXERCISES. 

Arm .\2cd Hand Exercise 264 

Tkuxk axd ^YAIST Exercise 277 

Knee Exercise 281 

Leg and Foot Exercise 285 

CoMBEs'ED Exercises 291 

III. DUMB-BELL EXERCISES. 

Chest Exercise 303 

Shoulder Exercise 308 

Elbow Exercise 310 

Arm and Hand Exercise 311 

Trl-nk and Waist ExEEasE 319 

Knee Exerose 324 

Leg and Foot Exercise 332 

Single Bell Exerose 345 

Combined ExEnasEs 349 

IV. IXDIAX CLUB EXERCISES. 

Arm and Hand Exercise 358 

Combined Exercises 374 

Knee Exerc ise 380 

Leg and Ff)OT Exercise 382 

The Indian Club Race 384 

V. R1X(J EXERCISES. 

Combin-ed Exercises 385 

Mi8CXLi-AN»>U8 Exercises 387 



VOCAL GYMIASTICS. 



I INTRODUCTORY to the general exercises in Calisthenics 
and Gymnastics, and as an indispensable accompani- 
ment, in order to insure strength, tone, purity, and flexi- 
bility to the voice, and as conducive to general health, — 
the instructor will make it an imperative school duty for the 
student to acquire a thorough and practical knowledge of 
YocAL Gymnastics. 

While a combination of Yocal Exercises with Calisthenics 
and Gymnastics is valuable to all classes and conditions of 
men, it is absolutely indispensable in the early training of 
public singers, readers, and orators. The full recognition 
of this fact by Demosthenes, in his youth, gave him the 
command of that admirable and masterly force of mascu- 
line eloquence, which, as it overpowered all who heard it, 
can not, at this day, be read without emotion. Colton says 
of him : 

" His studies, though embracing a liberal and wide range 
of letters, philosophy, and science, are not confined to the 
academy or the public grove. We see him daily ascend- 
ing the Acropolis, and panting for breath as he gains the 
summit. Again he is seen laboriously climbing Olympus, 
the Hymettus, and every eminence where genius or the 
muses have breathed their inspiration. 

" His object, which he pursues with an ardor that never 
flags, and a diligence that never tires, is twofold, viz. : to 



12 



VOCAL GYMNASTICS. 



drink in the free and fresh inspirations of nature and art ; 
and, by unremitting daily exercise, to giye expansion to his 
chest, and strength and freedom of play to his lungs. 

" We see him again, when the tempest comes on, hurry- 
ing to the least-frequented parts of the Piraeus or Phalerus ; 
and while the deafening thunders roar around him, and the 
deep and stirring eloquence of many waters expands and 
fills his soul, lifting his feeble and stammering yoice, and 
essaying to give it compass, and flexibility, and power, 
while he ' talks with the thunder as friend to friend, and 
weaves his garland of the lightning's wing.' " 

" Reading aloud and recitation," says Andrew Combe, 
are more useful and inyio^oratino; muscular exercises than 
is generally imagined ; at least, when managed with due 
regard to the natural powers of the individual, so as to 
avoid effort and fatigue. Both require the varied activity 
of most of the muscles of the trunk to a degree of which 
few are conscious till their attention is turned to it. In 
forming and undulating the voice, not only the chest, but 
also the diaphragm and abdominal muscles, are in constant 
action, and communicate to the stomach and bowels a 
healthy and agreeable stimulus." 



ELOCUTION. 

ELOCUTION is the delivery of extemporaneous or writ- 
ten composition. We say of elocution, it is good or 
bad ; clear, fluent, or melodious ; though it is often used as 
nearly synonymous with eloquence, tlie act of expressing 
thoughts with elegance and beauty. 

We purpose, in this Treatisk, to present all necessary 
directions, rules, and exercises, under the four general divi- 
sions : Respiration, Orthoepy, Expression, and Recitations 
IN Yerbk. 



RESPIRATION. 



I. 

RESPIRATION. 

A SKILLFUL management of the breatli in utterance is 
the first essential to good reading and speaking. To 
avoid marring sentences, and losing the force of the leading 
ideas, the breath nmst be drawn or gathered at intervals of 
the period when the voice is only suspended for a moment. 
By this management the lungs may always have a sufficient 
stock of air for carrying on the longest sentence, without 
improper ' interruptions. 

It is a good practice for the student, after inhaling a full 
breath, to repeat the cardinal numbers rapidly, up to eight, 
a number of times. By practice, he may soon make his 
breath hold out till he has counted eight, twelve times. 
Another valuable exercise is, after a full inhalation, to trill r 
continuously, as long as possible, on the same key ; up and 
down the musical scale a number of times, observing the 
regular intervals ; and through several passages of music. 

We quote the following remarks and directions from an 
excellent Manual by Russell and Murdock : 

" Function of Breathing. — The organs of voice, in com- 
mon with all other parts of the bodily frame, require the 
vigor and pliancy of muscle, and the elasticity and anima- 
tion of nerve, which result from good health, in order to 
perform their appropriate functions wdth energy and effect. 
But these indispensable conditions to the exercise of the 
vocal organs, are, in the case of most learners, very imper- 
fectly supplied. A sedentary mode of life, the want of in- 
vigorating exercise, close and long-continued application of 
mind, and, perhaps, an impaired state of health, or a feeble 
constitution, prevent, in many instances, the free and forcible 
use of those muscles on which voice is dependent. Hence 
arises the necessity of students of elocution practicing 



14 



VOCAL GYMNASTICS. 



physical exercises, adapted to promote general muscnlar 
vigor, as a means of attaining energy in vocal functions ; 
tlie power of any class of muscles being dependent on the 
tone of the whole system. 

The art of cultivating the voice, however, has, in addi- 
tion to the various forms of corporeal exercise practiced for 
the general purj)Ose of promoting health, its own specific 
prescriptions for securing the vigor of the vocal organs, and 
modes of exercise adapted to the training of each class of 
organs separately. 

" The results of such practice are of indefinite extent ; 
they are limited only by the energy and perseverance of the 
student, excepting, perhaps, in some instances of imperfect 
organization. A few weeks of diligent cultivation are 
usually sufficient to produce such an effect on the vocal 
organs, that persons who commence practice with a feeble 
and ineffective utterance, attain, in that short period, the 
full command of clear, forcible, and varied tone. 

" Gymnastic and calisthenic exercises are invaluable aids 
to the culture and development of the voice, and should be 
sedulously practiced when opportunity renders them accessi- 
ble. But even a slight degree of physical exercise, in any 
form adapted to the expansion of the chest, aud to the free- 
dom and force of the circulation, will serve to impart energy 
and glow to the muscular apparatus of voice, and clearness 
to its sound. 

" There is, therefore, a great advantage in always prac- 
ticing some preliminary muscular actions, as an immediate 
preparation for vocal exercise. These actions may be se- 
lected from the system of ]Di*ej)aratory movements taught 
at gymnastic establishments ; or they may bo made to con- 
sist in regulated walking, with a view to tlie acquisition of 
a firm, easy, and graceful carriage of the body, with ap- 
propriate motion of the arms and limbs ; in the systematic 
yjractice of gesture, in its various forms, for the puri^ose of 
obtaining a free, forcible, and effective use of the arm, as 
a natural accompaniment to speech ; or in the practice of 



EESPIRATION. 



15 



attitude and action combined, in tlie most vivid style of 
lyric and dramatic recitation, so as to attain a perfect con- 
trol over the whole corporeal frame, for the purposes of 
visible expression. 

" Some preliminary exercises, such as the preceding, hav- 
ing been performed, and a sufficient period for rest and 
tranquil breathing having elapsed, the next stage of pre- 
paratory action may be as in the following directions : 

" 1. Attitude of the Boclij^ and Position of the Organs. — 
Place yourself in a perfectly erect, but easy posture; the 
weight of the body resting on one 
foot ; the feet at a moderate distance, 
the one in advance of the other ;^ 
the arms akimbo ; the fingers press- 
ing on the abdominal muscles, in 
front, and the thumbs on the dorsal 
muscles, on each side of the spine; 
the chest freely expanded and fully 
projected ; the shoulders held backr 
ward and downward ; the head per- 
fectly vertical. 

"2. Exercises in Deep Breathing. 
— Having thus complied with the 
pi-eliminary conditions of a free and 
unembarrassed action of the organs, 
draw in and give out the breath very 
fully, and very slowly, about a dozen fig. 3. 

times in succession. Let the breath- 
ing be deep and tranquil, but such as to cause the chest 
to rise fully, and fall freely, at every eifort. 




^ Position. — The object in view, 
in this apparently minute direction, 
is to secure perfect freedom and re- 
pose of body. A constrained or a 
lounging posture is utterly at vari- 
ance with, a free, unembarrassed use 
of the voice, or the production of a 



clear and full sound. While the 
position of the above figure difiers 
from the description here given, 
having all of the advantages and 
being one of the leading positions 
in Calisthenics, it is recommended, 
as preferable. 



16 VOCAL GYMNASTICS. 

" 3. Exercise in ''Effusive^ or. Tranquil Breathing. — Draw 
in a very full breath, and send it forth in a prolonged sound 
of the letter Ji. In the act of inspiration, take in as much 
breath as von can contain. In that of expiration, retain all 
YOU can, and give out as little as possible, merely sufficient 
to keep the sound of h audible. But keep it going on, as 
long as Tou can sustain it. In this style of respiration, the 
breath merely cffusts itself into the surrounding air. 

" The strength of the individual must be left to regulate 
the frequency with which this exercise should be performed, 
in succession ; half a dozen times will suffice at first. 

-i. E.cercise in ' Evjnilsive,^ or Eorcihie Breathing. — 
Draw in a very full breath, as before, and emit it with a 
lively, expulsive force, in the sound of /z, but little pro- 
longed ; in the style of a moderate whispered cough. The 
breath, in this style of expiration, is ])rojected into the air. 
Repeat this exercise, as directed in the statement preceding. 

5. Exercise in Explosire^ or Ahrujyt Breathing. — Draw 
in the breath, as already directed, and emit it with a sudden 
and violent explosion, in a vei-y brief sound of the letter 
in the style of an abrupt and forcible, but whispered cough. 
The breath is, in this mode of expiration, thrown out with 
abrupt violence. Kepeat this exercise, as before directed. 

6. Sighing. — Sighing, as a natural effort, designed to 
relieve the lungs and accelerate the circulation, when de- 
pressing emotions or organic impediments cause a feeling 
as if the breath were pent up, | consists in a sudden and 
large inspiration, and a full, strong, effusive expiratiorif. In 
vocal training, it becomes a most efficacious means of free, 
unembarrassed respiration, and, consequently, of organic 
energy and of full voice. It shoidd be repeated as the other 
exercises, and pr actic ed both through the nc^-ils and the 
mouth ; the former being its gentler, the latter its more 
forcible form. It should be practiced, also, in the tremulous 
style of ins|)iration, in which the sigh resembles a series of 
prolonged and subdued sobs. 

" 7. Sohhin^. — Sobbing, as an instinctive n^-t, consists in a 



ORTHOEPY. 



17 



slightly convulsive, subdued, and whispering gasp, by wliieli 
an instantaneous supply of breath is obtained, when the 
stricture caused by the suffocating effect of grief would 
otherwise obstruct or suspend too long the function of in- 
spiration. The practice of the sob facilitates the habit of 
easy and rapid inspiration, and the expression of pathetic 
emotion. 

" 8. Gasping. — Gasping is an organic act, corresponding 
somewhat to sobbing, but much more violent, as belonging 
to the expression of tierce emotions. Its effects, as an exer- 
cise in disciplining the organs, are very powerful, and its 
use ill vehement expression, in dramatic passages, highly 
effective, and, indeed, indispensable to natural effect. 

" 9. Panting. — Panting, as a natural act, in a highly ex- 
cited state of the circulation, whether caused by extreme 
muscular exertion or by intense emotion, consists in sudden 
and violent inspiration and expiration, the latter process 
predominating in force and sound. It is the only form of 
respiration practicable in high organic excitement. The 
practice of panting, as an exercise, imparts energy to the 
function of respiration, and vigor to the organs. Its effect 
is inseparable from the expression of ardor and intense 
earnestness in emotion." 

II. 

ORTHOEPY. 

ORTHOEPY is the art of correct pronunciation. It em- 
braces xVkticulation, Syllabication, and Accent. 

I. AETICUL ATIOK. 
Definitions. 




ETICULATIOISr is the distinct utterance of the Oral 
Elements in syllables and words. 



2. Oral Elements are the sounds that, uttered separately 
or in combination, form syllables and words. 



18 



VOCAL GYMNASTICS. 



3. Oral Elements ake produced by diti'ereiit positions 
of the organs of speech, in connection with the voice and 
the breath. 

4. The principal Organs of Speech are the lips, the 
teeth, the tongue, and the palate. 

5. YoiCE IS produced by the action of the breath npon 
the larynx.^ 

6. Oral Elements are divided into three classes : 
eighteen tonics, fifteen subtonics, and ten atonics. 

7. Tonics are pure tones produced by the voice, with but 
slight use of the oi-gans of speech. 

8. Subtonics are tones produced by the voice, modified 
by the organs of speech. 

9. Atonics are mere breathings, modilied by the organs 
of speech. 

10. Letters are characters that are used to represent or 
modify the oral elements. 

11. The Alphabet is divided into vowels and consonants. 

12. YowELS are the letters that usually represent the tonic 
elements. They are a, e^ «*, 6», and sometimes y} 

13. A Diphthong is the union of two vowels in one syl- 
lable ; as, ou in ouw 

14. A Digraph, or Improper Diphthong, is the union of 
two vowels in a syllable, one of which is silent ; as, oa in 
lortf, ou in (louYi. 

15. A Triphthong is the union of three vo^vels in one 
syllable ; as, eau in \ieaii^ ieu in ad/tt^ 

16. Consonants-^ are the letters that usually represent 
cither subtonic or atonic elements. They are of two kinds, 



' Larynx. — The upper part of tlic 
traclica, or \vin(lpii)e. 

' W not a vowel. — As ?r, stand- 
ing- ulono, (loos not represent a ])uro 
or unmodified ton(5 in tlu; EnjL,disli 
language, it is not here classified 
with the vowels. 

Consonant. — Tlie term como- 



nant, literally meaning, sounding 
icith, is a})plied to these letters and 
combinations because they are rarely 
used in words without liaving a vowel 
connected with them in the same 
syllable, although their oral elemertU 
may l e utten^d separately, and witli- 
oiit the aid of a vowel. 



ORAL ELEMENTS. 



19 



single letters and combined, including all the letters of the 
alphabet, except the vowels, and the combinations ch, sh, wh, 
ng ; fli subtonic, and th atonic. 

17. Labials are letters whose oral elements are chiefly 
formed hj the lips. They are j), lo, and ivh. M may be 
regarded as a nasal labial, as its soimd is aifected by the 
nose, i^and v are labia-dentals. 

18. Dp:ntals are letters whose oral elements are chiefly 
formed by the teeth. They are s, b, ch, and sh. 

19. LiNGUALS are letters whose oral elements are chiefly 
formed by the tongue. They are <r/, /, and t. iV^is a nasal- 
lingual ; a lingua-palatal, and th, a lingua-dental. 

20. Palatals are letters whose oral elements are chiefly 
foi-med by the palate. They are (j and Ic. is a nasal- 
palatal. 

21. Cc)Gxatp:s are letters whose oral elements are produced 
by the same organs, in a similar manner ; thus, y is a cog- 
nate of V / Ih of ^, etc. 

22. Alphabetic Equivalents are letters, or combinations 
of letters, that represent the same elements, or sounds ; thus, 
i is an equivalent of in pzque. 

Oral Elements. 

In sounding the tonics, the organs should be fully opened, 
and the stream of sound from the throat should be thrown, 
as much as possible, directly upward against the roof of the 
mouth. These elements should open with an cibrujpt and 
exjylosive force, and then diminish gradually and equably to 
the end. 

In producing the subtonic and atonic elements, it is impor- 
tant to press the organs npon each other with great firmness 
and tension ; to throw the breath upon them with force ; and 
to prolong the sound sufficiently to give it a full impression 
on the ear. 

In addition to the observance of the above directions, 
pupils should be required to assume an erect j^osture, either 



20 



VOCAL GYMNASTICS. 



atanding or seated, and to keep a full supply of air in the 
lungs, while uttering the elemental sounds, as arranged in 



the followino' 



Table of Oral Elements.^ 

I. TONICS. 



a or 




as in age. 


ate. 


e 


or 


e, as in 


elk. 


end. 


k or 


a, 


^- at. 


land. 








her. 


verse. 




a, 


art. 


arm. 


i 


or 


1, 


ice. 


child. 






All, 


ball. 


3 
1 


or 


i, 


Ink, 


inch. 




a/ 


bare, 


care. _ 


6 


or 


0, ^' 


old. 


home. 




a/ 


ask. 


glass. 


2 




or 




on, 


frost. 


e or 


e, 


he, 


these. 






6, ' 


do, 


prove. 



' Directions. — First require the 
students to pronoance a catch-word 
once, and then produce the oral ele- 
ment represented by tlie figured vow- 
el, or italic consonant, four times — 
thus : age, a, a, a, a ; at, a, a, l\, a, &c. 
Exercise the class upon the table till 
each student can utter consecutively 
all the oral elements. 

Long and Short Vowels. — The 
attention of the class should be called 
to the fact that the first element, or 
sound, represented by each of the 
vowels, is usually indicated by a hor- 
izontal line placed over the letter, 
and the second sound by a curved 
line. 

^ A Fifth. — Tlic fifth clement, or 
sound, represented by a, is its first or 
Alphabetic sound, modified or soft- 
ened by r. In its production, the 
lips, x^laced nearly together, arc held 
immovable while the student tries to 
say, a. 

* A Sixth. — 'I'lu^ sirth clomcnt rc])- 
resented by a, is a sound intcrnic- 
diatc between a, as heard in at, ash, 



and a, as in «rm, «rt. It is produced 
by prolonging and slightly soften- 
ing L 

5 E Third.— The third element rep- 
resented by e, is e as heard in end, 
prolonged, and modified or softened 
by r. 

O modified. — The modified oral 
element of o, in this work, is repre- 
sented by (o or 6) the same marks as 
its regular second power. This mod- 
ified or medium element may be pro- 
duced by uttering the sound of o in 
not, slightly softened, with twice its 
usual volume, or prolongation. It is 
usually given when short o is imme- 
diately followed hy fi\ f/\ s-s, !<f, or ih, 
as in off, soft, cr/'.v.s\ (v^s/. hmtli ; also 
in a number of words where short o 
is directly followed by or final 
iig, as in gouG, hegonc; long, along, 
l^Tong, song, strong, thong, throng, 
wrong. Smaht says, To give the 
(extreme short sound of o to such 
words is affectation ; to give them 
the full sound of broad a (a in all), 
is vulgar. 



COGNATES. 



21 



ii or "u.,^ as 


; in ciibe 


cure. 1 


u, as in 


full, 


push. 


11 or u, 


- bAcL 


liLisli. 






h(?z^se. 






II. SUBTONICS. 






1)^ as ill 


JaZ'e, 


ova. 


7'," as m 


?'ake, 


ba?\ 


cl, - 


r/ir/, 


dim. 




fliis, 


wifti. 


9^ 








rine. 


rice. 






Joint. 




^{^ake. 


-zmse. 


/, 


Zake, 


/ane. 


y. " 


yard. 


2/es. 




T^iild, 


7/?ind. 






^^'a^'e. 




?iame. 


ni?ie. 




azure. 


glazier 


















III. ATOXICS. 






^f, as in 


/lime, 




/, as in 


^arz*. 


tORSt. 




Aark, 


^arm. 


th, - 


Mank, 


Yovdh. 




A'ind, 


Z,'iss, 


ch, " 


6'Aase, 


marc It. 


V. 


■pipe. 


^um^. 


sh, " 


.s/^ade. 


s/mke. 




6ame, 


<s-en5e. 


1 


2d)Aale, 


white. 



C OGNATES. 

First require the student to pronounce distinctly the Tvord 
containino; the Atonic element, then the Subtonic Coo-uate, 
uttering the element after each word — thus: Xxip, jp • orh, 
&c. The attention of the pupil should be called to the fact 
that Cognates are produced by the same organs, in a similar 



^ U initial — preceded by R. — U, 

at the beginning of words, wlien long, 
lias the sound of i/u, as in lise. When 
:i long; or its alphabetic equivalent 
ew, is x^receded by r, or the sound of 
sh, in the same syllable, it has always 
the sound oft? in do; as, r?<de, suie, 

^ R trilled. — In triUing r, the tip 
of the tongue is made to "s-ibrate 
against the roof of the mouth. E 
may be trilled when immediately fol- 



lowed by a vowel in the same syl- 
lable. AThen thus situated in em- 
phatic words, it should always be 
trilled. Frequently require the stu- 
dent, after a full inhalation, to trill r 
continuously, as long as i^ossible. 

^ Wh. — To produce the oral cle- 
ment of ich, the student will blow 
from the center of the mouth — first 
compressing the lips, and then sud- 
denly relaxing them while the air is 
escaping. 



22 



VOCAL GYMNASTICS. 



manlier, and only differ in one being an nndertone, and tlie 
other a whisper. 

ATONICS. SUBTONICS. 

li^, p orZ>, h. 

/i/e, /. ^'ase, r.. 

wlat^^ loJi ?6Hse, w. 

^ave, ^eal, 2. 

iL^Aade, sh azure, z. 

cAarm, ch joiu, j. 

tsivt, t . did, d. 

thing, th fliis, fii. 

'^'in^', A' gig, g. 

Alphabetic Equivalents. 

The instructor will require the students to read or recite 
the table of Alphabetic Equivalents, using the following 
formula : The Alphabetic Equivalents of A first jyoiver are 
ai, ail, ay, e, ea, ee, ei, ey ; as in the words, gaiw, gauge, 
stray, melee\ great, Yeiu, they. 

I. TONIC ELEMENTS. 

For a, ai, an, ay, e, ea, ee, ei, ey; as in ga^'n, gauge, stray, 
melee', great, xeiu, they. 

For a, ai, ita^ as in pl<2^d, gz^arantv. 

For a, au, e, ea, ua.y as in haunt, S(?rgeant, hmrt, guard. 

For a, au, aw, eo, 0. oa, ou j as in f«?dt, hav^\, G<?6>rge, 
eork, bro6cd, bc»?^ght. 

For a, ai, e, ea, eij as in ehair, there, sw^ar, heir. 

For e, ea, ee, ei, eo, ey, i, iej as in readi, dee^, ceil, i^'oi^ic, 
hey, yak'se, field. 

For e, a, ai, ay, ea, ei, eo, ie, u, ue ; as in an\, said, says, 
head, heifer, lc(9pard, friend, bwry, gi^^ss. 

For e, ea, i, o, ou, it, ue, yj as in eart)\, g/rl, word, seourge, 
hum, guerdon, inyrrli. 

For i, ai, ei, eye, ie, oi, ui, uy, y, ye i as in a/sle, slf?ght, 
eye, die, (^\oir, guide, huy, my, rye. 



TONIC AND SUBTONIC COMBINATIONS. 



For i, ai^ ee^ ie, o, oi, n, ui^ y' as in captam, pretty, b^^^^n, 
szeve, women, torWse, bwsj, b?(:/ld, hymn. 

For 6, au^ eau^ eo^ eiv^ oa^ oe^ oo^ ou^ oiu i as in \muiho\\ 
heau, jeomsLU, sew, coal, foe, door, soid, hlow. 

For 6, a, ou, ow I as in what, haz^gh, knozzjledge. 

For 6, ew, oe, oo, ou, u, id/ as in greiv, shoe, sp6>c;n, S(9?/p, 
ri^de, fruit. 

For "d, eau, eii, ew, ieu, iew, ue, ui^ as in heautj, feud, neio, 
Sidieu, Yiew, hice, juicQ. 

For u, 0, oe, oo, ou i as in \o\q, does, blood, joimg. 
For u, 0, 00, ou j wolf, book, coidd. 
For on, ow as in no^o. 
For oi (ai), oy; as in hoy. 

II. SUBTONIC AND ATONIC ELEMENTS. 

For f, gh,phj as in cough, nymph. 
Forj,^/ as in ^em, (/in. 

For k, c, ch, gh, q; as in cole, conoA, lon^A, eti^'uette. 
For s, c ; as in cell. 

For t, d, th, phth ; as in dancetZ, Thames, phlhhic. 
For y,J^,ph/ as in of, Stephen. 
For J, i • pimon. 

For z, c, s, X J as in snffice, rose, ccebec. 
For z, g, s / as in rou^e, osier. 
For ng, 71 ; as in a^^ger, hant. 
For ch, t; as in fns^ian. 

For sh, e, ch, s, ss, as in ocean, cAaise, sure, assure, 
martial. 

Tonic and Subtonic Combinations. 

After the instructor has given a class thorongli drill on 
the preceding tables, as arranged, the following exercises will 
be fonnd of great valne, to improve the organs of speech and 
the voice, as well as to familiarize the student witli different 
combinations of sounds. Students will not pass from these 
exercises until they can utter the elements represented by 



24 



VOCAL GYMNASTICS. 



the figured vowels in Avhatever order the instructor may re- 
quire. As thep ft^i element represented hv tr, and the i/urd 
element of c\ are always immediately followed by the oral 
element of r in words, the is introduced in like manner in 
these exercises. The sivt/i sound of a is always immediately 
followed by the oral element of/'. ;^ or .v, in words. For 
convenience, /'only is introduced in. these combinations. 



ba. 


ba. 


hL 


ba. 


bar. 


baf : 


be. 


be. 


her : 


bi. 


bi : 


bo. 


bo. 


bo: 


bii. 


bfi. 


bu; 


bon. 


ab, 


ab. 


ab. 


ab. 


arb. 


af: 


eb. 


6b, 


erb : 


ib, 


lb; 


ob. 


6b, 


6b: 


lib. 


fib. 


lib: 


oub. 


da. 


da. 


d^. 


dit. 


dar. 


daf; 


de. 


de. 


der : 


di, 


di; 


do. 


do. 


d6: 


du. 


dd. 


dti: 


dou. 


ad. 


ad. 


ad. 


ad. 


ard. 


af: 


ed. 


6d, 


erd : 


id. 


id; 


6d. 


6d, 


6d: 


ud. 


fid, 


ud ; 


oud. 


ga. 


ga. 


ga. 


ga. 


gar. 


gaf ; 


ge. 


2 


ger ; 


gi« 
ag. 




go, 
ag, 


Ag, 


go : 
arg, 


O'U, 

Af; 


gu, 

eg, 


g^i ; 

6g, 


gou. - 
erg : 


ig, 






6g, 


6g ; 


ug, 




ug ; 


oug. 


iaf, 

o 


1 ar, 


ja. 


J a. 


ja. 


ja : 


jer. 


• 2 

je. 


je : 


jl, 




jo. 












jou. 


laf. 


1 ar, 


la, 


la. 


la, 


la : 


ler. 


le, 


ie: 




li; 


16, 


16. 


16: 


lu. 


Ifi. 


hi: 


Ion. 


af. 


arl. 


al. 


al. 


Al, 


al: 


erl. 


61, 


el: 


n. 


^1; 


61. 


61, 


61; 


til. 


fd. 


ul: 


onl. 


maf, 


mar, 


ma. 


ma, 


2 

ma, 


nu'i : 


mer. 


me, 


me : 


9 

mi. 


mi ; 


mo. 


mo. 


mo ; 


mil. 


mil. 


mil : 


mou. 


af. 


lU'ni, 


am. 


am. 


am. 


am : 


erm. 


em. 


em : 


im. 


Ini ; 


6m, 


nm. 


6m : 


iim. 


fun. 


iim : 


onm. 


nil, 


na, 


na. 


nar. 


naf, 


na ; 


ne, 


ner. 


ne : 


ni, 


nl : 


n6. 


n6. 


no : 


nu. 


n.u. 


nil ; 


nou. 




arng. 


ang, 


at; 


ang, 


ang ; 


eng, 


ei-ng, 


eng ; 


!ng, 


ing ; 


ong. 


6ng. 


6ng : 


ung. 


ung. 


ung ; 


oung. 


ra. 


ra. 


i-ar. 


ra. 


ra, 


raf : 


re. 


rer. 


e 

1-e ; 




ri ; 


rn. 


ro. 


ro : 


I'U. 


rit. 


rii : 


rou. 



TOXIC AND ATONIC COMBINATIONS. 



25 



4. 


fiia, 




fhar, 


fhaf. 


fha, 


flia; 


fher. 


the, 


the ; 




fhi, 


fhi; 


fliO, 


fh.j, 


fho ; 


fhu, 


fliu, 


fhu ; 


fhou. 




afli, 


Ml, 


af, 


afli, 


arfh. 


afii ; 


efli. 


erfh, efli ; 




ifii, 


ifh; 


ufli, 


66i, 


ofii; 


Ufll, 


tifh, 


um ; 


outii. 




va, 


va, 


var, 


va. 


vaf. 


va ; 


v6r. 


ve. 


ve; 




^i, 


2 

VI ; 


v6. 


vo. 


vo; 


vti, 


vu. 


vu; 


vou. 




av, 


af. 


av, 


av. 


av, 


arv ; 


erv. 


ev. 


ev ; 




iv. 


2 


ov, 


ov. 


6v; 


2 

UV, 


uv. 


uv ; 


ouv. 




wa, 


Tva, 


war, 


wa. 


wa, 


waf ; 


Aver, 


we. 


we ; 




\vi. 


wi ; 


wo. 


wo, 


wo ; 


wu. 


wti. 


wu ; 


WOU. 


5. 


ya, 




ya. 


ya, 


yar. 


yaf ; 


ye. 


y^. 


yer ; 




Jh 


2 

p; 




3 


yo; 




s 

y^^ 


3 

y^ 


von . 




zou : 


zu, 


zu. 


zu : 


z6. 


2 

zo. 


zo ; 


2 

Zl, 


zi ; 




zer, 


2 

ze, 


ze ; 


zaf, 


zar. 


za. 


za. 


2 

za. 


za. 




oiiz ; 


uz. 


uz. 


uz ; 


oz. 


6z, 


6z ; 


2 

IZ, 

7 


iz : 




erz. 


2 

ez, 


ez ; 


af, 


arz. 


az. 


3 

az, 


az. 


az. 






Tonic and Atonic Combinations. 






1. 


fa, 


fa, 


fa. 


fa, 


far. 


faf: 


fe, 


fe, 


f§r; 






fi; 


fo, 


fo. 


fo; 


fu. 


fu, 


fu; 


10 U. 




har, 


haf. 


ha, 


hk 


ha. 


ha ; 


he. 


he. 


her ; 




hi, 


hi: 


lio. 


ho, 


ho ; 


hu, 


hu. 


hu ; 


hou. 




alv, 


ak, 


ak. 


fik, 


ark. 


af; 


ek, 


ek, 


erk ; 




ik, 


ik; 


ok, 


ok, 


ok ; 


tik, 


uk. 


uk : 

7 


ouk. 




pa, 


pa, 


pa, 


pa. 


par. 


paf ; 


pe. 


pe, 


per : 

J. 7 




i • 


pi ; 


po. 


po. 


po; 


pu, 


pii, 


pu ; 


pou. 


2. 


af, 


ars, 


as, 


as, 


as, 


as ; 


ers, 


es, 


es ; 




13, " 


is; 


OS, 


OS, 


OS ; 


us. 


us, 


us, 


ous. 




taf, 


tar, 




ta, 


ta, 


ta; 


ter. 


te, 


te; 




ti, 




to, 


to, 


to; 


tu, 




tu ; 


tou. 




tliaf, 


thar, 


tha, 


tha. 


tha, 


tha; 


ther, 


the, 


the; 




ith, 


itli : 


oth. 


6th, 


6th ; 


uth. 


iith, 


Iith ; 


outh. 




ouch : 


; uch, 


uch. 


iich ; 


och, 


och. 


ocli ; 


ich. 


ich ; 




erch, 


ech, 


ech ; 


af. 


ach, 


fich. 


arch, 


fich, 


ach. 



2 



26 



YOCAL GTlvINASTICS. 



3. cliou; elm, chii, clra; clio. clic% cho ; cLi, cbi ; 

cher, cLe, che ; cha, clia, cha, cM, char, cliaf. 

ousli; usli. usli, -ash: osli, osli, osli; isli, is3i; 

ersh, esli, esli ; ash, af, ash. ash, ash, arsh. 

shou; shu, shii, shii; sho, sho, sho; shi, slii; 

sher, she, she; shaf, shar, sha, sha. sha, shL 

whon ; vhu. whu, whii : who. who, who ; whi. wh3 : 

wher, whe, whe; whaf, whai', wha, wha, wlia, wM. 

Phoxetic Laughter. 

LArGHTEK, hy the aid of Phonetics, is easily taught^ as an 
aj't. It is one of the most interesting and healthy of all 
class exercises. It may be either vocal or respiratory. 
There are thirty-two well-defined varieties of laughter in 
the English language, eighteen of which are produced in 
connection with the tonics • nine, with the siMonics of 7, 
72, 7ig. th^ 1', and z ; and five, with the cdonics of A, ^, 
/A, and sh. 

Commencing with vocal laughter, the instructor will first 
utter a tonic, and then, jirefixing the oral element of A, and 
accompanied by the class, he will produce the syllable con- 
tinuously, subject only to the interruptions that are inci- 
dental to inhalations and bursts of laughter; as, a, ha, ha, 
ha, ha. ha, <tc.. — a, ha. ha. ha, ha. &c. The attention of the 
students will be called to the most agreeable lands <»f laugh- 
ter, and they will be taught to ]3ass naturally and easily from 
one variety to another. 

Errors l\ x\rticulation. 

Eeeoks in Aexictlation arise chiefly, 

1. From the omission of one or more dem>e7i:ts in a 
word : as. 



an* f'-^r an<^. 

friei.*- " iVienr/s 



fieVs for fiel</6. 
wilV •• wib7s. 



ANALYSIS, OF WORDS. 



27 



blin'ness for blincZness. 

fac's ** fac^s. 

sof ly " soft ly. 

sta'm storm, 

wa'm " wami. 



bois t'rous for bois ter ous. 

chick'n '* chick (^n. 

Ills t'vj " his to ry. 

noyl " nov eL 

trav'l " tray eh 



2. From iitterino: one or more elements that shouhl not l)e 



sounded ; 


as, 










ev en 


for 


ev'n. 


1 rav el 


for 


rav'l. 


heav en 




heav'n. 


sev en 




sev'n. 


tak en 


u 


tak'n. 


sof ten 


a 


sof'n. 


sick en 




sick'n. 


1 shak en 




shcik'ii 


driy el 


ii 


driv'L 


i shov el 




sliov"]. 


fi^roy el 




m'ov'i. 


shriy el 




shriv'l 



3. From snbstitntins: one element for another ; as, 



set 


for 


s!t. 


carse 


for 


course (cors). 


sence 


u 


since. 


re part 


u 


re port. . 


shet 


(; 


shnt. 


trOffy 


i; 


tro pliY. 


for git 




for get. 


pa rent 




par ent. 


c&re 




care. 


bun net 




bOn net. 


dance 




dance. 


chil dr?/u 




chil dreii. 


past 


u 


past. 


snl ler 




eel lar. 


ask 




ask. 


mel Xex 




mel Vov:. 


grass 


a 


grass. 


pil ler 


u 


pil \hiL\ 


mil 


(,(. 


6-/^rill. 


mo mimt 


u 


mo ment. 






w1i\A. 


harm Izss 


u 


harm less. 


a gan 




a gain (a gen). 


kind n2ss 


£. 


kind ness. 


a ganst 


u 


against (agenst). 


-z/jis per 




'z/'/as per. 


berth 




hearth (harth). 


sing in 




sing Yftfj. 



Analysis of English Words. 

Before proceeding to Phonetic Eeading, under the head of 
ExEKciSES IN Aeticulation, the instructor will require the 
student to learn the following exhaustive, though simple, 
analysis; and the four special rules of Orthoepy. 



TOCAL GYM^A^CS. 



A^fAiTsrs. — 1^:. Tiir —.ri salve, in pronun€iaii*jru k 
formed Lt iLe ii oi three oral elements; sir — salve. 
(Here let the pupil utter the three oral elements separately, 
and then pronounce the word.) The fir^ is a modiJied 
breathing ; hence, it is an atonic* The seeond is a pure tone ; 
hence, it is a tonic. The third is a modified tone ; hence, it 
is a subtonic. 2d- The word salvk. m writing^ is represented 
bv five letters; salve — salve. E repn^ents an atonic; 
hence, it is a consonant- Its oral element is chieflv formed bv 
the teeth ; hence, it is a dental. Its oral element is produced 
by the same organs and in a similar Manner as that of z ; 
hence, it is a cognate of z. A. represents a tonic ; hence, it 
is a voweL L is silent. V represents a subtonic ; hence, it is 
a consonant. Its oral element is chiefly formed by the lower 
lip and the npper teeth; hence, it is a labia-dental. Its 
oral element is. formed by the same oigans and in a similar 
manner as that ofy; hence, it is a cognate ofyi jE'is silenL 

1st. The word shoe, in pronuficiatimK is formed by the 
union of two oral elements ; sh 6 — shoe. The^^r^^ is a modi- 
fied breathing ; hence, it is an atonic. The ^mnd is a pure 
tone ; hence, it is a tonic. 2d. The word shof^ in wtiting^ 
is represented by four letters; shoe — shoe. The combina- 
tion sh represents an atonic; hence, it is a consonant. Its 
oral element is chiefly formed by the teeth ; hence, it is a 
dentaL Its oral element is produced by the same organs and 
in a similar manner as the second element represented by z : 
hence, it is a cognate of z. The combination oe is formed 
by the union of two vowels, one of which is silent ; hence, 
it is an improper diphthong. It represents the oral element 
usually represented by o ; hence, it is an alphabetic equiva- 
lent of o. 



* ISie = ■ - : = — It win 

be eeex strktlT 

logical: aaon is 

deduced from two premises, one of 
which (the major propoeitiOT) is sa|>- 
pressed. The first syllogism, ftillT 



stated, is as follows: — All modiJSed 
breathings are Atonies ; 

The oral element of « is a modi- 
fied breathing; 

Hence; the otal dement of « is an 
AtonicL 



PHONETIC READING. 



29 



Special Eules. 

1. The tvoed A. when not eraphatic. should be pronounced 
a {a in ctf) ; as. 

Is not calm and serious study a refuge, a hope, a field within the 
reach of all of us ? 

2. The, when neither emphatic nor immediatelv followed 
bj a word that commences with a vowel sound, should be 
pronounced thii ; as. 

The (fliu) peace, the (fliu) prosperity, the /ionor of the (thu) 
whole country are at stake. 

3. U PRECEDED BY K. — When u long, or its alphabetic 
equivalent eic, is preceded bv ;•% or the sound of 6-A, in the 
same syllable, it has always the sound of o in do : as in 
r?^de, sza-e. shr^?'.'d. 

4. iw MAY BE TETLLED wheu immediatclv followed bv a 
vowel in the same syllable. When thus situated in emphatic 
words, it should always be trilled. 

Exercises ix Articulation. 

For a further exercise, the students will analyze the sepa- 
rate words of each of the following sentences, and read the 
sentences several times, uttering all the oral elements with 
force and distinctness. 

1. Thu hosts stud stil. in silent w^der fikst. 

2. A thouzand shreks far h6ple5 mersi kal. 

3. TliQ. folishnes bv fulz iz foil!. 

■i. Xow set thu teth and strech tlrO. nostril wid. 
5.. Arm it wi6i ragz, a pigmi stca wil pers it. 
0. He wocht and wept, he felt and prad far al. 
7. B66i'z yoths wifh troths vuz 66iz. 

5. Lit seking lit. hath lit 6v lit begild. 
0. Shor al her pafhz ar pa'fliz ov pes. 

10. She gloriz in fiiA gostli glom 6v grovz. 

11. Thu rOgz rfl-sht round 'QiU. ri\f, red roks. 



30 



VOCAL GYMNASTICS. 



12. Thu wlialz wlield And wlierld, and bard fhar brad baks. 

13. X6 shet liar shroud Giishrind flioz sbredz ov sbrivvld 
Ida. 

1-1. Thi'i bold, biid bafz brok bolts and barz. 

15. Iliz iz mCzerd An azerd ski. 

16. Stern, ragged ners ! flii rijid lor wifli pasliens men! h 
yer she bor. 

IT. Thou badst him sa. seseth, approcheth, rejaiseth. 
IS. Wifli horrid houlz he hevd flii:i hevvnz abuv, 

19. Fam, fartyUn. And frOndz favar thu far. 

20. Thu jievisli. lebl frenu\n lebl! fat far freddm. 

21. Hi on a li!l ITu lierd harsez harni hofs. 

22. He shringks from fiiU shrugz, fliU slirll snreks, and 
fliu srhoudz ov shrod shroz. 

23. Amidst fhu mfsts and koldest frosts, Avifli barest rists 
and stoutest hosts, he thrusts h!z fists agCnst fliu posts, And 
stil insists he sez fliu gosts. 

21:. A starm Arizeth on fliu se. A model vessel iz strug-, 
glfng amidst "fliu war ov elements, kwivering and shivering, 
shringking And bAttliufr lik a thfngking being. Thu mersi- 
les, raking wherhv'iiidz. lik fritful fendz, houl and mon, and 
send sharp, shril shreks tliro fhu kreking kardaj, snApping 
■fliU shets and masts. TliU sterdi salarz stand to fiiar tasks, 
and weflier fliU severest starm ov fliU sezii. 

25. Cliast-id, cherfsht Ches ! TliU clnirmz ov fhi chekerd 
clianiberz chan me elianjlesli. Chamberlinz, chaplinz, and 
chansellarz liav chanted flil cherobik cliaisnes. Clieftinz 
liav chanjd fliU eliAriot imd fliU clnis far f^iu ches-bord 
and fliu cliarming charj ov fliu elies-nits. No chiling cherl, 
no dieting cliafferer, no cliAttering chanjling kAn be fhi 
chozn champion. Tliou art fliu cliassner ov fhu cherlish, 
fliQ cliider ov fliu chanjabl, flifi clierislier ov fliu cherful 
and fliu char'ital)L Far flie ar flin cliaplets ov clninles 
chariti and fliu chalis ov cliildlik (;herfriln(js. Clianj kan 
not clianj tlie: from cliildliud to fliu cliarnd'l-lious, from 
our frrst cliildisli (•lir'r])ingz to fliu cliilz ov fliu cherch- 
yard. fliou art our ('li(''i-i, clianjlrs clieftines. 



FORMATION OF SYLLABLES. 



31 



11. SYLLABICATION . 

A SYLLABLE is a word, or part of a word, uttered by a 
single impulse of the voice. 

2. A Monosyllable is a w^ord of one syllable ; as, home. 

3. A Dissyllable is a word of hoo syllables ; as, home-less. 

4. A Trisyllable is a word of three syllables ; as, con-fine- 
ment. 

5. A Polysyllable is a w^ord oifour or 7nore syllables; as, 
in-no-cen-cy^ un-iii-tel-li-gi-ljil-i-ty . 

6. The Ultimate is the last syllable of a word ; as f iil. in 

^^2,ii^-f'ul. 

7. The Penult, or penultimate, is the last syllable but 
one of a word ; as mak^ in peace-??i«A;-er. 

8. The Antepenult, or antepenultimate, is the last syl- 
lable but ty:)0 of a word ; as ta^ in spon-^^a-ne-ous. 

9. The PKEANrEPF:NULT, or preantepenultimate, is the last 
syllable but three of a word ; as cab., in vo-C(2&-u-la-ry. ' 

Formation of Syllables. 

A single impulse of the voice can produce but one rad- 
ical or opening and vanishing or gradually diminishing 
movement. Since a syllable is produced by a single impulse 
of the voice, it follows that only such an oral element, or 
order of oral elements, as gives but one radical and vanish 
movement, can enter into its formation. As the tonics can 
not be uttered separately wdthout producing this movement, 
but one of them can enter into a single syllable ; and, as this 
movement is all that is essential, each of the tonics may, by 
itself, form a syllable. Consistently with this, we find, when- 
ever tw^o tonics adjoin, they always belong to separate sylla- 
bles in pronunciation, as in «-6-ri-al, i-o-tsi, o-cc-sis. 

Though elements can not be combined with a view to length- 
en a syllable, by the addition of one tonic to another, as this 
would produce a new and separate impulse, yet a syllable 
may be lengthened by prefixing and affixing any number of 



32 



VOCAL GYMNASTICS. 



siibtonics and atonies to a tonic, that do not destroy its sin- 
gleness of impulse ; as, a, an^ and^ land^ gland^ glands. 

A tonic is usually regarded as indispensable in the forma- 
tion of a syllable. A few syllables, however, are formed 
exchisively by subtonics. In the words bidde-7i, rive-w, 
ihyth-??z., schis-??!, fic-A;Z(', \-dIe^ \\i-tle^ and words of like con- 
struction, the last syllable is either pure subtonic, or a com- 
bination of subtonic and atonic. These final syllables go 
through the radical and vanish movement, though they are 
far inferior in quality, euphony, and force, to the full display 
of these properties on the tonics. 

In combining the oral elements into syllables, students 
should carefully observe the following 

Rules for the Formation of Syllables. . 

1. Initial Consonants. — Tlie elements of consonants that 
commence words should be uttered distinctly, but should 
not be much prolonged.^ 

2. Final Consonants. — Elements that are represented by 
final consonants should be dwelt upon, and uttered with 
great distinctness ; as, 

He accepts the office, anrZ attemp^.s' by his acte to conceal his 
faul/s. 

3. WiiKN ONE WORD OF A SENTENCE ENDS and the iicxt bcgius 
witli the same consonant, or another that is hard to j^roduce 
after it, a difliculty in utterance arises that should be obviated 
by dwelling on the final consonant, and then taking up the 
one at the beginning of the next word, in a second impulse 
of the voice, without pausing between tliem ; as, 

It will pai?i ?7obody, if the sa<:Z cZangler ?'egai?i ?7eithc7' 7'ope. 



' Initial elements prolonged. 
On this point, Dr. Rush mentions the 
error of a distinguished actor, who, 
in order to give great force and dis- 
tinctness to his articulation, dwelt 
on the initial letters, as marked in 



tlie following lines : 
" Canst thou not w-inister to a 
w^-ind diseased, 
P^-uck from the ?//-emory a 
?'-ooted sorrow T' 
Such mouthing defeats its object. 



SYLLABICATION. 



33 



4. Final Cognates. — In uttering the elements of tlie final 
cognates, J, jp^ and A', the organs of speech should not 
remain closed at the several jprmses of discourse, but should 
be smartly separated by a kind of echo as, 

I took down my hat-^, and put it upon my liead-(i. 

5. Unaccented Syllables should be pronounced as dis- 
tinctly as those which are accented : they should merely , 
hav e less force of voice and less prolongation ; as, 

The thoughtZess, helpZess, homeless girl did not resent his rude?ie8S 
and harsh 71 

Yery many of the prevailing faults of articulation result 
from a neglect of these rules, especially the second, the third, 
and the last. He who gives a fall and definite sound to final 
consonants and to unaccented vowels, if he does it without 
stifiPness or formality, can hardly fail to articulate well. 

Exercise.^ 

1. TmRTY years ago, Marseilles'^ lay h^^xmng in the sun, one day. 
A hld^zmg sun, upon a fierce August cZay, was no greater rarity in 
Southern France then, than at any other time, before or since. 
Every thin^ in Marseilles, and abou^ Marseilles, had si^ared at the 
fervid sky, and been scared at in return, until a starint/ habi^ had 
become universaf there. 

2. /S'i!r augers were scared out of countenance by s^ari?i^ white 
houses, staring white walls, stari?ip' white streets, staring tracfe of 
aric? roatZ, stari/i^/ hills from whic/i t;erdure was burnt away. The 
only i]imgH to be seeji ?iot firedly stari?!^/ and glarinp^ were the vines 
droopi?ip' under their load of grapes. These did occasionally winZ; a 
little, as the hot air barely moved their faint leaves. 

3. There was no wincZ to make a 7'ipple on the foul water within the 
harbor, or on the beautiful sea without. The line of demarkation 
between the two colors, blacZ; and blue, showed the point which the 
pure sea would not pass ; but it lay as quiet as the abommable pool, 



' Direction. — Students will give formation of syllables each letter that 
the number and names of the syl- appears in italics, in this exercise, is 
lables, in words of more than one designed to illustrate, 
syllable, and tell what rule for the Marseilles (mar salz'). 

3* 



34 



VOCAL GYllNASTK^. 



wifii ^Ylucll it never mixe^^. Boats without ixwnmgs were too lio^ ^o 
tourA; .ships blistered at their moori??f/8; the stones of the quays 
bad not cooler?, night or day, for months. 

4. The unirersal stare made the eyes ache. Toward the distant 
line of Italian coa,s^, indeecf, it was a little relieved by light clouds 
of mi^*^, slowly risi?ip' from, the evaporation of the sea; but it softened 
nowhere else. Far away the Htsning roads, deep in dus^, stared from 
the hillsit^e, stared from the hollow, stared from the interminable plain. 

5. Far away the dusty vines overhangi?i(/ wayside cottages, and 
the monotonous wayside avenues of parchec? ^rees without shade, 
drooped beneafh the stare of earth and sky. So did the horses with 
drowsy bells, in long files of car^8, creepi?i^ slowly toward the interior ; 
so did their recumbent (irivers, when they were awake, which rarely 
happene<i ; so did the exhausted laborers in the fields. 

6. Every thing that Zived or grew was oppressed by the ^7^are ; 
except the lizar^?, passing swiftly over rough stone walls, and the 
cicada, chirping his diy hot chir^j, like a rattle. The very dus^ was 
scorchetZ ?>rown, and somethi??^ quivered in the atmosphere as if the 
air itself were panting. Blin<is, shutters, curtains, awnings, were all 
closed and^ ^Zrawn to keep out the stare. Grant it but a chin^ or 
keyhole, and it shot in like a white-hot arrow. 

7. The churches were freest from it. To come out of the twilight 
of i^illars and arches — dream^ly <iotted with win\u7ig lam^s, dreamily 
peopled with ugly olcZ shadows piously doziji^, spitting, and beg- 
ging — was to plunge into a fiery river, and swim for life to the 
nearest striip of shacZe. So, with people lounging and lying 
wherever shade was, with but little hum of tongues or barkir^gr of 
do^.s, with occasional jangli?i<7 of discordant church bells, and rattli7?(7 
of vicious drums, Marseilles, a fac^ to be strongly smelt and ^aste^^, 
lay broiling in the sun one day. 

III. ACCENT. 

ACCENT is tlic peculiar force given to one or more 
syllables of a word. In many trisyllables and poly- 
syllal)les, of two syllables accented, one is nttered witb 
LH-eater force tlian the oth(!r. The more forcible accent is 
(:'d\\od prima rt/^ and the less forcible, secondary. 



ACCENT. 



35 



The mark of acute accent ['] is employed, ^r^^, to indicate 
primary accent ; secondly^ the rising inflection (p. 44) ; as, 

Reading, or reading. If thine enemy hunger', give him bread. 

The mark of grave accent [^] is employed, firsts to indi- 
cate secondary accent ; secondly^ tliat the vowel over which 
it is placed, with its attendant consonant, forms a separate 
syllable ; thirdly^ that the vowel in the unaccented syllable 
is not an alphabetic equivalent, but represents one of its 
usual oral elements ; and fourfMy^ the falling inflection 
(p. 44) ; as, 

Magnificent, or mag^nificent. A learned man caught that winged 
thing. Her goodness moved the roughest. Away\ thou coward^ ! 

The student will be required to give the ofiice of each 
marli in the following 

Examples. 

1. Yeracity first of all, and forever. 

2. The finest wits have their sediment, 

3. Hunting mein>, not beasts', shall be his game. 

4. Honest students learn the greatness of hi\mility. 

5. A foor with jiidges' ; among fools', a judge\ 

6. Costlime, manners, riches, civilization, have no permanent in- 
terest for him. — His heedlessness offends his truest friends. 

7. In a crowded life, on a stage of nations, or in the obscurest 
hamlet, the same blessed elements offer the same rich choices to 
each new comer. 

Words distinguished by Accent. 

Many words, or parts of speech, having the same form, 
are distinguished by accent alone. Nouns and adjectives 
are often thus distinguished from verbs. 

Examples. 

1. Why does your ah' sent friend absent' himself? 

2. Did he ahst^^act' an ab'stract of your speech from the desk ? 

3. Note the mark of ac'cent, and accent' the right syllable. 



36 VOCAL GYMNASTICS. 

4. Buy some cein'ent and cement' the glass. 

5. Desert' us not in the desert. 

6. If that jjroj'ect fail, he will project' another. 

*I. My in'crease is taken to increase' 3''our wealth. 

8. Perfume' the room with rich perfume. 

9. If they reprimand' that officer, he will not regard their 
rep'i^imand. 

10. If they rebel', and overthrow' the government, even the reb'els 
can not justify the o'<;f?'^/i?'ow?. 

A few dissyllables, wliicli are at once nouns and adjectives, 
are distinguished by accenting the nouns on the Ji?'st syllable 
and the adjectives on the last. The fourth example differs. 

Examples. 

1. In Au'gust, the august' writer entered into a compact to pre- 
pare a compact' discourse. 

2. Instinct, not reason, rendered the herd instinct' with spirit. 

3. Within a minute from this time, I will find a minute' piece of 
gold. 

4. Her gallant' , the gal'lant captain, says, the will of that invalid 
(invaled') is inval'id. 

Accent Changed by Contrast. 

The ordinary accent of words is sometimes changed by a 
contrast in sense, or to express opposition of thought. 

Examples. 

1. He must lu'crease, but I must cZe'crease. 

2. He did not say a new ad'(\\\'\fm, hwt a new e'dition. 

3. Consider well what you have done, and what you have left 
w?i'done. 

4. I said tliat she will .sw.s'i)ect the trutli of tiie story, not tliat slie 
will ex'\)Qdt it. 

5. He that <'/c/scended is also the same tliat a.s'cended. 

G. This corru])til)le nmst put on ^'corruption ; and this mortal 
must put on ?77i 'mortality. 



EMPHASIS. 



37 



III 

EXPRESSION. 

EXPRESSIO]^ OF Speech is the utterance of tliouglit, 
feeling, or passion, with due significance or force. Its 
general divisions are Emphasis, Sluk, Inflectiox, Modula- 
tion, Monotone, Personation, Pauses, and Measure and 
HHYTmi of Terse. 

Orthoepy is the mechanical part of elocution, consisting in 
the discipline and use of the organs of speech and the voice 
for the production of the alphabetic elements and their com- 
bination into separate words. It is the basis — the subsoil, 
which, bj the mere force of will and patient practice, may 
be broken and tnrned up to the sun, and from Avliich spring 
the flowers of expression. 

Expression is the soul of elocution. Bj its ever-varying 
and delicate combinations, and its magic and irresistible 
.power, it wills — and the listless ear stoops with expectation ; 
the vacant eye burns with unwonted fire ; the dormant pas- 
sions are aroused, and all the tender and powerful sympathies 
of the soul are called into vigorous exercise. 

I. EMPHASIS. 




MPHASIS is the peculiar force given to one or more 
' words of a sentence. 



To give a word emphasis, means to pronounce it in a lond' 
ov forcible manner. ]^o peculiar tone, however, is necessary, 
as a word or phrase may be rendered emphatic or pecnliarly 
significant by prolonging the vowel sounds, by a pause, or 
even by a whisper. 



^ Loudness. — The instructor will ence to high pitch, but to xolunie of 
explain to the class the fact, that voice, used on the same key or pitch, 
loudness has not, of necessity, refer- when reading or speaking. 



VOCAL GYMN.ISTICS. 



Emphatic words are often printed in italics ; those more 
emphatic, in small capitals ; and those that receive the 
greatest force, in large CAPITALS. 

Rules for the Use of Emphasis. 

1. TTOEDS AND PHEASES PECULIAKLY SIGNIFICANT, OT import- 
ant in meaning, are emphatic ; as, 

^^llence and ichat art thou, execrable shape ? 

2. WoKDs AND PHRASES THAT coNTKAST, OT point out a differ- 
ence, are emphatic ; as, 

I did not say a better soldier, but an elder. 

3. The repetition of an emphatic word or phrase nsnally 
requires an increased force of utterance ; as, 

Tou injured my child — you, sir ! 

4. A succession of important words or plirases nsually re- 
quires a gradual increase of emphatic force, though emphasis 
sometimes falls on the last word of a series only ; as. 

His disappointment, his anguish, his DEATH, were caused by 
your carelessness. 

These misfortunes are the same to the poor, the ignorant, and the 
weak, as to the rich, the wise, and the j90w,v?yw?. 

Exercises.^ 

1. Heaven ! he cried, ray bleeding country save ! 

2. I shall know but one country. I was horn an American ; I 
live an American ; I shall die an American. 

3. See how beauty is excelled by manly grace, and icisdom, which 
alone is truly fair. 

4. He buys, he setts, — he steals, he KILLS for gold. 

5. He that trusts you, where he should find you tions finds you 
HARES ; where foxes, geese. 

G. A trood mail loves himself too well to lose an estate by gaming, 
and his neighbor too well to ivin one. 



' Direction — Require the student is illustrated by each of the following 
to tell which of tlie preceding rules exercise!^. 



EMPHASIS. 



39 



7. The thunders of heaven are sometimes heard to roll in the 
voice of a united iDeople. 

8. A day, an hour, of vb-tiious liherty, is worth a whole ETER- 
XITY in bondage. 

9. Let us fight for our country, our whole country, and XOTH- 
IXa BUT OUR COUXTRY. 

10. If I were an American, as I am an JEnglishraan, while a 
foreign troop remained in my country, I xevee would lay down my 
arms — never, xever, XEYER.^ 

11. What stroxger breastj^late than a heart untainted ! THRICE 
is he armed that hath his quarrel just ; and he but xaked, though 
locked up in STEEL, whose conscience with ixjustice is corrupted. 

12. Strike — till the last armed foe expires ; 
Strike — for your altars and your fires ; 
STRIKE — for the green graves of your sires ; 

God — and your native land ! 

13. Son of night, retire ; call thy winds, and Jlif. Why dost 
thou come to my presence with thy shadowy arms? Do I fear thy 
gloomy form, dismal spirit of Loda? Weak is thy sliield of clouds ; 
FEEBLE u that meteor, thy sword. 

14. What should I say to you ? Should I not say. 
Hath a dog money? is it r)ossihlp, 

A CUR can lend three thousand duc'atsf 

15. In the prosecution of a virtuous enterj)rise, a hrave man de- 
spises danger and difficulty. 

16. Was that country a desert ? No : it was cidtivafed and fer- 
tile ; rich and 2:)opulous/ Its sons were men of genius, spArit. and 
generosity! Its daughters were lovely, susceptible, and chaste! 
Friendship was its inhabitant ! Love was its inhabitant ! Domes- 
tic affection was its inhabitant ! Liberty was its inhabitant 1 

IT. Speak the speech, I pray you, as I p)ronounce it to you — 
trippingly on the tongue ; but if you mou^ it, as many of our play- 
ers do, I had as lief the town-crfe?* spake my lines. Xor do not 
saw the air too much wifli your hand thus, but use all gently ; for 
in the very torrent, tempest, and (as I may say) whtrlwixd of your 



* In order to make the last neicer 
more forcible, tlie emphasis is pro- 
<luced hy the falling slide, and a deep 



depression of tlie voice, — almost to a 
deep aspirated whisper, drawn up 
from the very bottom of the chest. 



40 



VOCAL GYMNASTICS. 



passion, you must acquire and beget a temperance that will give it 
smoothness. 

18. Kind souls ! What, weep 3^ou when you but behold our 
Ciesar's testure wounded ? Look ye here ! Here is hbiSELF, 
MARRED, as you see, by traitors. 

19. If there be any in this assembly, any dear friend of Goesafs, 
to Mm I say, that Brutus'' love to Caesar was no less than his. If, 
then, that friend demand why Brutus rose against CjBsar, this is my 
answer : not that I loved Ccesar less, but that I loved Rome more. 
Had you rather Caesar were living, and die all slaves, than that 
CjEsar were dead, to live all freemen ? 

20. As Csfisar loved me, I loeep for him ; as he was fortunate, I 
rejoice at it ; as he was valiant, I honor him ; but as he was ambi- 
tious, I slew him. There is tears for his love, joy for his fortune, 
honor for his valor, and death for his ambition. 



II. SLUE. 

SLUR is that smooth, gliding, subdued movement of the 
voice, by which those parts of a sentence of less com- 
parative importance are rendered less impressive to the ear, 
and emphatic words and phrases set in stronger relief. 

When a wx)rd or part of a sentence is empliasized^ it is 
usually pronounced wifii a louder and more forcible effort of 
the voice, and is frequently prolonged. But when a sentence 
or part of a sentence is shirred^ it must generally be read in 
a lower and less forcible tone of voice, mure rapidly, and with 
all the words pronounced nearly alike. 

In order to communicate clearly and forcibly the whole 
bignilication of a passage, it must be subjected to a rigid 
analysis. It will then be found, that one paramount idea 
always pervades the sentence, although it may be associated 
with incidental statements, and qualified in every possible 
manner. Hence, on the ])roper management of slur, much 
of the beauty and propriety of enunciation depends, as thus 
the reader is' enabled to bring forward tbe primary ideii, or 
more important parts, into a strong light, and throw other 



SLUR. 41 

portions into shade ; thereby entirely changing the character 
of the sentence, and making it appear lucid, strong, and ex- 
pressive. 

Slur must be employed in cases oi parenthesis, contrast, 
repetition, or explanation, where the phrase or sentence is of 
small comparative importance ; and often when qualification 
of time, place, or manner is made. 

The parts which are to be slurred in these exercises are 
printed in italic letters, the prominent ideas appear in 
Roman, and the more emphatic words in small capitals. 

Exercises. 

1. The rivulet sends forth glad sounds, and, tripping o^er its bed 
of pebbly sands, or leaping down the rocks, seems with continuous 
laughter to rejoice in its own being. 

2. Ingenious boys, ivho are idle, think, with the hare in the fable, 
that, running with snails ( so they count the rest of their school- 
fellows), they shall come soon enough to the post ; though sleeping 
a good while before their starting. 

3. I love Music, tohen she appears in her virgin purity, almost 
to adoration. But vocal music — the dearest, sweetest thing on earth 
— unaccompanied with good elocution, is like butter without salt ; a 
garlic-eater with a perfumed handkerchief ; or, rather, like a bank- 
rupt beau — his soft hands incased in delicate kids — with soiled 
linen, and patches upon his knees. 

4. No ! DEAR as FREEDOM is, and in my hearths just estimation 
prized above all price, I would much rather be myself the slave, 
and WEAR the bonds, than fasten them on mM. 

5. The devout heart, penetrated ivith large and affecting views of 
the immensity of the works of God, the harmony of his laws, and 
the extent of his beneficence, bursts into loud and vocal expressions 
of praise and adoration ; and from a full and overflowing sensibili- 
ty, seeks to expand itself to the utmost limits of creation. 

6. They shall hear of my vengeance, that would scorn to listen 
to the story of my wrongs. The miserable Highland drover, bank- 
rupt, barefooted, stripped of all, dishonored, and hunted down, 
because the avarice of others grasped at more than that j^^or all 
could pay, shall burst on them in an awful change. 



42 VOCAL GYMNASTICS. 

T, If there's a Power above us — and that there is, all Nature 
cries aloud through all her tvorks — He must delight in virtue ; and 
that which He deUghts in must be happy. 

8. The soul of eloquence is the center of the human soul itself, 
which, eidightened by the rays of an idea, or warmed and stirred 
by an impression, flashes or bursts forth to manifest, by some sign 
or other, what it feels or sees. This it is which gives movement and 
life to a discourse : it is like a kindled torch, or a shuddering and vi- 
brating nerve. 

9. Why did he pause ? Why does a man's heart palpitate ivhen 
he is on the point of committing an unlawful deed ? Why does 
the very murderer, his victim sleeping before him, and his glaring 
eye taking the measure of the blow, strike wide of the mortal part ? 
Because — of conscience ! 

10. Ye glittering towns, with wealth and splendor crowned ; 
Ye fields, ivhere summer spreads prof usion round ; 

Ye lakes, whose vessels catch the busy gale ; 
Ye bending swains, that dress the flowery vale ; 
For me your tributary stores combine : 
Creation's heir, the world, the world is minj ! 

11. Think 

Of the bright lands within the ivestern main. 
Where we will build our homo, what time the seas 
Weary thy gaze ; — there the broad palm-tree shades 
The soft and delicate light of skies as fair 
As those that slept on Eden ; — J^ature, there, 
Like a gay spendthrift in his flush of youth. 
Flings her whole treasure in the lap of Time. — 
On turfs, by fairies trod, the Eternal Flora 
Spreads all her blooms ; and from, a lake-like sea 
Wooes to her odorous haunts the western wind ! 
While, circling round and upward from the boughs, 
Golden ivith fruits that lure f lie joyous birds. 
Melody, like a haj>py sou' rc'cased, 
Hangs in the air, from in msiblc plumes 
Shakes sweetness down ! 

12. Beauty — a lioing presence of the earth. 
Surpassing the most fair ideiV forms 



INFLECTIONS. 



43 



Which craft of delicate i<pirit^ liath comjyosed 
From carol's materials — waits upon my steps ; 
Pitches her tents before me as I move, 
An hourly neighbor. Paradise, and groves 
Elysian, Fortunate Fields — like those of old 
Sought in the Atlantic main — why should they be 
A history only of departed things, 
Or a mere fiction of what never was ? 
For the discerning intellect of man, 

When wedded to this goodly universe 

In love and holy passion, should find these 

A simple produce of the common day. 

13. lIoAV beautiful this night ! The balmiest sigh. 
Which vernal zephyrs breathe in evening'' s ear, 
Were discord to the speaking quietude 
That wraps this moveless scene. Heaven's ebon vault, 
Studded tcith stars unutterably bright, 
Tlirough ivhich the moon's unclouded grandeur rolls. 
Seems like a canopy which love has spread 
To curtain her sleeping world. Yon gentle hill.-;, 
Robed in a garment of untrodden snow; 
Yon darksome rocks, whence icicles depend, — 
So stainless, that their white and glittering spires 
Tinge not the moon's pure beam : yon castled steep, 
Whose banner hangeth o'er the time-worn tower 
So idly, that rapt fancy deem-ih it 
A metaphor of p)eace ; — all form a scene 
Where musing solitude might love to lift 
Her soul above this sphere of earthliness ; 
Where silenc?, undisturbed, might watch alone, 
So cold, so bright, so still. 

III. IXFLECTIOXS. 

INFLECTIONS are the bends or slides of the voice, used 
in reading and speaking. 
Inflection, or tlie slide, is one of tlie most important divi- 
sions of elocution, because all speecli is made up of slides, and 



VOCAL GYMNASTICS. 



because the right or wrong foi-niatiou of these gives a per- 
vading character to the whole delivery. It is to the graceful 
foj'mation of the slides that we are chiefly indebted for that 
easy and reflned utterance which prevails in polished society ; 
while the coarse and rustic tones of the vulgar are commonly 
owing to some early and erroneous habit in this respect. 
Most of the schoolboy faults in delivery, such as drawling, 
whining, and a monotonous singing sound, result from a 
wrong formation of the slide, and may be corrected by a 
proper course of practice on this element of speech. 

A slide consists of two parts, viz. : the radical, or opening- 
sound, and the va?iish, or gradual diminution of force, until 
the sound is lost in silence. Three thino-s are necessarv to 
the perfect formation of a slide. 

1st. The opening sound must be struck with a full and 
lively impulse of voice. 

2d. The diminution of force must be regular and equable — 
not more rapid in one part than another, but naturally and 
gracefull}^ declining to the last. 

3d. The final va-nish must be delicately formed, without 
being abrupt on the one hand, or too much prolonged on the 
other. 

Thus, ixf uU opening, a gradual decrease, and a delicate ter- 
7nination, are requisite to the perfect formation of a slide. 

There are three inflections or slides of the voice : the Rising 
Inflection, the Falling Inflection, and the (yiRCL'MFLKX. 
A mark incliniiii^ to the ri<>:ht ' is sometimes used to indi- 
cate the Rising Inflection ; a mark inclining to the left, ^ the 
Falling Inflection. When the Circumflex commences with a 
rising and ends with w falling slide of the voice, it is indi- 
cated thus, l)ut when it commences with ^falling and 
ends Avith a rl'^ing slide, it is indicated thus, which the 
])upil will ])erceivc is the same mark inverted. 

Though each of the above marks always indicates an 
inflection of the same Imid, yet the slides difl*er greatly in the 
degree., or extent of their rise or fall. In some, the voice has 
a veiy flight, and in others, a very marked u|)ward or down- 



INFLECTIONS. 



45 



ward movement, depending on tlie nature of what is ex- 
pressed. We do not give definite rules touching these shades 
of difference in tlie degree of inflection, as thev would rather 
perplex tlian aid the learner. In a few examples, however, 
this difference is indicated hj the use of italics and capital 

LIOTTKRS. 

1. The Risinvj Inflection is the upward bend or slide of 
the voice; as. Do you love your Jiome ? 

2. The Falling Inflection is the downward bend or slide 
of the voice ; as, When will you go Tiorne^f 

The rising inflection carries the voice upward from the 
genercd jyitch^ and suspends it on the highest tone required ; 
while the falling inflection commences cd)ove the general 

■pitchy and falls down to it ; as. Did you say 5^ or ^^_^At the 
end, or final close, of a declarative sentence, when the falling 
slide commences on the general pitchy and falls below the 
key, it is sometiuies called the Cadence^ or falling slide of 
termination : as, God is / 

4. The Circumflex is the union of the inflections of the 
voice on the same syllable or word, either commencing with 
the rising and ending with the falling^ or commencing with 
the falling and ending with the rising, thus producing a 
slight wave of the voice ; as, Mother, you have my father 
much offended. 

Etjles for the Use of Inflections. 

1. Direct questions, or those that can be answered by yes 
or no, usually require the rising inflection ; but their answers, 
\h.Q falling I as. 

Has any one sailed around the earth'? Yes\ Captain Cook\ 
Exceptions. — T[\q falling inflection is required when the 
direct question becomes an earnest appeal, and the answer is 
anticipated ; and when a direct question, not at flrst under- 
stood, is repeated with marked empliasis ; as, 



46 



VOCAL GYMNASTICS. 



WiW' her love survive your neglect' ? and may'' not you expect 
the sneers, both of your wife\ and of her parents^ ? 

Do you reside in the city'? What did you say, sir'? Do you 
reside in the city^f 

2. iNDmECT QUESTIONS, OP those tliat can not be answered 
by yes or no, usually require X\\q falling inflection, and their 
answers the same ; as, 

Who said, "A wise man is never less alone than when he is 
alone^?" Swift\ 

Exceptions. — The rising inflection is required when an 
indirect question is used to ask a repetition of what was not 
at first understood ; and when the answers to questions, 
wliether direct or indirect, are given in an indiflferent or 
careless manner; as, 

Where did you say^? Shall I tell your enemy'? As you please' ! 

3. QUESIIONS, WORDS, AND CLAUSES, CONNKCTED BY THK DIS- 
JUNCTIVE OR, nsually require the rising inflection before, and 
the falling after it ; though, when or is used corijunctivelij, 
it takes the rising inflection after, as well as hefore it ; as. 

Does he deserve praise/, or hlame>? Can youth', or health', or 
strength', or honor', or pleasure', satisfy the soul' ? 

4. When words or clauses are contrasted or compared, 
the first part usually has the rising, and the last the falling 
inflection ; though, wlien one side of the contrast is affiriaed, 
and the other denied, generally the latter has the rising 
inflection, in whatever order they occur ; as, 

I have seen the effects of lone' and hatred/, joy' and grief, hope' 
and despair^. This book is not mine' , but yours". I come to hury'' 
Caesar, not io praise' him. 

5. Familiar address, and the pause of suspension, de- 
noting condition, supposition, or incompleteness, usually 
require the rising inflection ; as, 

Soldiers', friends', Americans', our country must be free. 
If thine enemy hunger', give him bread to eat. 



INFLECTIONS. 



47 



6. The language: of concession, polireness, admiration, 
entreaty, and tender emotions, nsnallj reqnires the rishig 
inflection ; as, 

Your remark is true' : the manners of this country have not all 
the desirable ease and freedom'. 

I pray' thee remember', I have done thee' worthy service' ; told 
thee no lies', made no mistakes'; served without grudge' or grumbling\ 

7. The end of a sentence that exjiresses completeness, 
conclusion, or result, usually reqnires the falling slide of ter- 
mination, which commences on the general pitch and falls 
below it ; as, The rose is beauti/^^y 

8. At each complete ti^kmination of thought, before the 
close of a sentence, the falling inflection is usually re- 
quired ; though, when several pauses occur, the last but one 
generally has the rising inflection ; as, 

Every human being has the idea of duty^ ; and to unfold this idea 
is the end for which life was given him. 

The rock crumbles^ ; the trees fall^ ; the leaves fade', and the grass 
withers. 

9. Thk language of command, rebuke, contempt, exclama- 
tion, and terror, usually requires \hQ falling inflection ; as, 

Thou slave\ thou wretch\ thou coward^ ! Away^ from ray sight^ ! 

10. The last member of a commp:ncing series, and the 
last but one of a concluding series, usually require the rising 
inflection; and all others the/biZZi^n^y as, 

A good disposition\ virtuous principles\ a liberal education\ and 
industrious habits', are passports to happiness and honor. 

These reward a good disposition^ virtuous principles\ a liberal 
education, and industrious habits. 

11. The Circumflex is used in language of irony, sarcasm, 
derision, condition, and contrast ; as, 

Was the hope drunk' , 
Wherein you dressed yourself ? hath it slept' since' ? 
And wakes it now, to look so green and pale 
At what it did so freely'? 



48 VOCAL GYiMXASTICS. 



Exercises. 

1. Will YOU forsake us' ? aud will you faYor us no more' ? 

2. Are^ you, my dear sir. ^Yilling to forgiYe^ ? 

3. Where did you find those young birds' ? In the meado\Y\ 
Where did you say ? 

4. Does that beautiful lady deserYe praise', or blame' ? 

5. Is a caudle brought to be put under a bushel', or under a bed'? 

6. If you seek to make one rich, study not to increase'' his stores', 
but to diminish' his desires'. 

7. Presumptuous man ! the gods' take care of Cato' I 

8. When reason' is against' a man. he^ will be against reason''. 

9. Thanks to the god§' ! my boy has done hi- duty'. 

10. O Rome' ! O my country' ! ho\Y art thou fallen' I 

11. Faith', hope', and charity', arc cardinal Yirtues. 

12. Hunting ??ie;z', not beasts', shall be his game. 

13. Can the great statesman', skilled in deep design', 

Protract but for a day precarious breath' ? — 
Can the tuned follower of the sacred Nine 
Soothe', with his melody', insatiate Death' ? 

14. Alas' 1 what need^ you be so boisterous rough'; 
I will not struggle', I will stand stone still' I 

15. Fu'e' and water', oil' and Yinegar', heat' and cokV. light' and 
darkness', are not more opposed to each other, than is honesty' to 
fraud', or Yice' to Yirtue'. 

16. For I am persuaded that neither death', nor life' — nor angels', 
nor principalities', nor powers' — nor things present', nor things' to 
come' — nor height', nor depth', nor any other' creature' — shall be 
able to separate us from the loYe of God. 

IT. All the circumstances' and ages' of men, poYcrty', riches', 
youth', old age' — all the dispositions' and passions', melancholy', 
love', grief, contentment' — are capable of being personified in poetiy 
with great propriety. 

18. Hath a dog money' ? Is it jwssiblc a cur can lend three thou- 
sand ducats' ? 

10. You meant no harm ; oh. no I your thouglits are innocent ; 
you have nothing to hide ; your l)rcast is pure, stainless, all truth. 
20. If tliou dost slander' Jier, and torture'' mr — xf.yeu' ruAv' more'. 



PITCH. 



lY. MODULATION. 

1\/|rODULATIOX is the act of varying the voice in read- 
I^jL ing and speaking. Its general divisions are, Pitch, 
FoKCE, Quality, and Eate. 

The four general divisions, or modes of vocal sound, pre- 
sented in this section, are properly the elements of Expres- 
sion ; as, by the combination of the different forms and 
varieties of these modes, Emphasis, Slnr, Monotone, and 
other divisions of Expression, are produced. 

Pitch. 

PiTCH^ refers to the Jcey-note of the voice — its general 
degree of elevation or depression, in reading and speaking. 
We mark three general distinctions of Pitch : High, Mod- 
erate, and Low. 

I. High Pitch is that which is heard in calling to a person 
at a distance. It is used in expressing elevated and joyous 
feelino-s and strono- emotion ; as, 

1. Gro ring the bells, and fire the guns, 

And fling the starry banners ont ; 
Shout " Freedom !" till your lisping ones 
Give back their cradle shout. 

2. If I may trust the flattering truth of sleep, 
My dreams presage some joyful news at hand ; 
My bosom's lord sits lightly on his throne, 
And all this day an unaccustomed spirit 

Lifts me above tlie ground with cheerful thoughts. 

3. First came renowned Warwick, 
Who cried aloud, " Wliat scourge for perjurij 



^ Exercise on Pitch — For a gen- 
eral exercise on Pitch, select a sen- 
tence, and deliver it on as low a ker 
as possible ; tlien repeat it, gradually 
elevating the pitch, until the top of 



the voice shall have been reached ; 
Avhen the exercise may be reversed. 
So valuable is this exercise, that it 
should be repeated as often as pos- 
sible. 



50 



VOCAL GYMNASTICS. 



Can this dark monarchy afford fahe Clarence?^' 
And so he vanished. Then came wandering by 
A shadow like an angel, wi& bright hair 
Dabbled in blood ; and he shrieked out, aloud, — 

Clarence is come— false, fleeting, jyerjured Clarence ; 
Seize on him, ye furies, take him to your torments^ 

II. Moderate Pitch is that wliicli is heard in common 
conversation and description, and in moral reflection, or 
calm reasoning' ; as, 

1. The mountains look on Marathon, 

And Marathon looks on the sea ; 
And musing there an hour alone, 

I thought that Greece might still be free ; 
For, standing on the Persian's grave, 
I could not deem myself a slave. 

2. Sometimes we see a cloud that's dragonish ; 
A vapor, sometime, like a bear, or lion, 

A towered citadel, or pendent rock, 

A forked mountain, or blue promontory, 

With trees upon it, that nod unto the world, 

And mock our eyes with air ; thou hast seen these signs ; 

They are black Vesper's pageants. 

That which is now a horse, even with a thought, 

The rack dislimns ; and makes it indistinct 

As water is in water. 

3. As a young Lobster roamed about, 
Itself and mother being out, 
Their eyes at the same moment fell 
On a boiled lobster's scarlet shell. 

" Look," said the younger ; " is it true 

Tliat we might wear so bright a hue ? 

No coral, if I trust mine eye, 

Can with its startling brilliance vie ; 

While you and I must be content 

A dingy aspect to present." 

" Proud, heedless fool!" the parent cried ; 

*' Know'st thou the penalty of pride ? 



PITCH. 



51 



The tawdry finery you wish, 

Has ruined this unhappy fish. 

The hue so much by you desired, 

By his destruction was acquired — 

So be contented with your lot, 

jS'or seelv to change by going to pot.'' 

111. Low Pitch is that wliicU is heard when the voice falls 
below the common speaking key. It is used in expressing 
reverence, awe, sublimity, and tender emotions ; as, 

1. 'Tis midnight's holy hour, and silence now 
Is brooding, like a gentle spirit, o'er 

The still and pulseless world. Hark I on the winds 
The bells' deep tones are swelling ; — 'tis the knell 
Of the departed year. No funeral train 
Is sweeping past, yet, on the stream and wood, 
Wifli melancholy light, the moonbeams rest. 
Like a pale, spotless shroud ; the air is stirred 
As by a mourner's sigh ; and on yon cloud. 
That floats so still and placidly through heaven, 
The spirits of the seasons seem to stand. 

2. Softly woo away her breath, 

Gentle Death ! 
Let her leave thee with no strife, 
Tender, mournful, murmuring Life! 
She hath seen her happy day : 

She hath had her bud and blossom : 
Now she pales and sinks away, 

Earth, into thy gentle bosom ! 

3. Oh ! now forever, 

Farewell the tranquil mind ! farewell content ! 
Farewell the plumed troop, and the big wars, 
That make aml^ition virtue ! Oh, farewell ! 
Farewell the neighing steed, and the shrill trump. 
The spirit-stirring drum, the ear-piercing fife. 
The royal banner, and all quality. 
Pride, pomp, and circumstance of glorious war ! 



52 VOCAL GYMNASTICS. 

And oh, YOU mortal engines, whose rude throats 
The immortal Jove's dread clamors counterfeit, 
Farewell ! Othello's occupation's gone ! 

Force. 

FoRCE^ is the Tolimie or loudness of voice, used on tlie 
same kev or pitch, when reading or speaking. 

Though the degrees of Force are numerous, varying from 
a soft whisper to a shout, yet they may be considered as 
three : Loud, Moderate, and Gentle. 

1. Loud Force is used in strong, but suppressed passions, 
and in emotions of sorrow, grief, respect, veneration, dignity, 
apjitliy, and contrition ; as, 

1. How hke a f aiming publican \\2 looks ! 
I hate him, for that he is a Christian. 
If I hut catch him once upon the hip, 

I will feed fat the ancient grudge I hear him. 

2. Slowly and sadly we laid him down, 

From the field of his famo fresh and gory ; 
We carved not a line, and we raised not a stone, 
But we left him alone in his glory ! 

3. O thou that, with surpassing glory crowned, 
Look'st from thy sole dominion, like the God 
Of this new world ; at whose sight all the stars 
Hide their diminished heads ; to thee I call, 
But with no friendly voice, and add thy name, 

Sun, to tell thee how I hate thy beams. 
That bring to my remembrance from what state 

1 fell, how glorious once above thy sphere ; 
Till pride and worse ambition threw me down, 
Warring in heaven against heaven's matchless King. 

' Exercise on Force. — For a gen- brought into play. Reverse the pro- 

cral exercise on Force, select a sen- cess, without change of key, ending 

tence, and deliver it on a given key, with a whisper. Tliis exercise is so 

wifti voice just sufficient to 1)0 heard ; valuable, that it rr.n not be too fre- 

then gradually increase the quantity, quently repeated, 
until tin; whole pow(>r of the voice is 



FORCE. 



53 



II. MoDEEATK Force, or a medium degree of loudness, is 
used in ordinary assertion, narration, and description ; as, 

1. What is the blooming tincture of the skin, 
To peace of mind and harmony within ? 
What the bright sparkUng of the finest eye, 
To the soft soothing of a calm reply ? 

Can comeliness of form, or shape, or air, 
Wifh comeliness of words or deeds compare ? 
~No ! those at first the unwary heart may gain, 
But these, these only, can the heart retain. 

2. I have seen 

A curious child, who dwelt upon a tract 

Of inland ground, applying to his ear 

The convolutions of a smooth-lipped shell : 

To which, in silence hushed, his very soul 

Listened intensely ; — and his coantenance soon 

Brightened with joy ; for murmurings from within 

Were heard, sonorous cadences ! whereby, 

To his belief, the monitor expressed 

Mysterious union with its native sea. 

Even such a shell the universe itself 

Is to the ear of Faith. 

In the delivery of the following selection from Tennyson, 
which is one of the purest and most exquisite of all poems, 
the degree of force is between the loud and the moderate. 

The Days that are xo more. 

Tears, idle tears ! I know not what they mean. 
Tears, from the depth of some divine despair, 
Rise in the heart, and gather to the eyes, 
. In looking on the happy Autumn fields. 
And thinking of the days that are no more. 

Fresh as the first beam glittering on a sail 
That brings our friends up from the under world ; 
Sad as the last which reddens over one 
That sinks with all we love below the verge : 
So sad, so fresh, the days that are no more. 



54 



VOCAL GYMNASTICS. 



Ah, sad and strange as in dark summer dawns 

The earliest pipe of half-awakened birds 

To dying ears, when unto dying eyes 

The casement slowly grows a glimmering square : 

So sad, so strange, the days that are no more. 

Dear as remembered kisses after death. 
And sweet as those by hopeless fancy feigned 
On lips that are for others ; deep as love. 
Deep as first love, and wild with all regrets, 
Death in Life ! the days that are no more. 

III. Gp:ntle Force, or a slight degree of loudness, is used 
to express caution, fear, secrecy, and tender emotions ; as, 

1. Heard ye the whisper of the breeze, 

As softly it murmured by. 
Amid the shadowy forest trees ? 
It tells, with meaning sigh, 
Of the bowers of bliss on that viewless shore, 
Where the weary spirit shall sin no more. 

2. They are sleeping ! Who are sleeping ? 

Pause a moment — softly tread ; 
Anxious friends are fondly keeping 

Yigils by the sleeper's bed ! 
Other hopes have all forsaken ; 

One remains — that slumber deep : 
Speak not, lest the slumberer waken 

From that sweet, that saving sleep. 



Quality. 

Quality has reference to the kinds of tone used in reading 
and speaking. They are the Puke Tone, the Orotund, the 
Aspirated, the Guttural, and the Trembling. 

I. The Pure Tone is a clear, smooth, round, flowing 
sound, accompanied with moderate pitch ; and is used to 
express peace, cheerfulness, joy, and love; as. 



QUALITY. 



55 



1. Metliinks I love all common things — 

The common air, the common flower ; 
The dear, kind, common thought, that springs 

From hearts that have no other dower, 

Xo other wealth, no other power, 
Save love ; and will not that repay 
For all else fortune tears awav ? 

2. It is the hour, when from the boughs 

The nightingale's high note is heard ; 
It is the hour when lovers' vows 

Seem sweet in everv whispered word : 
And gentle winds, and waters near. 
Make music to the lonely ear. 
Each flower the dews have Ughtly wet. 
And in the sky the stars are met. 
And on the wave is deeper blue. 
And on the leaf a browner hue, 
And in the heaven that clear obscure, 
So softly dark, and darkly pure, 
Which follows the decline of day, 
As twilight melts beneath the moon away. 

The Pure Tone approaches nearly to the Orotund in the 
delivery of Texxtsox's celebrated 

BuctLe Soxg. 

The splendor faUs on castle walls. 

And snowy summits old in story ; 
The long light shakes across the lakes. 
And the wild cataract leaps in glory. 
Blow, bugle, blow ! set the wild echoes flying : 
Blow, bugle : answer, echoes — dying, dying, dying I 

O hark, O hear ! how thin and clear. 

And thinner, clearer, further going ! 
O sweet and far, from cUflF and scar. 
The horns of Elfland faintly blowing I 
Blow ! let us hear the purple glens replying : 
Blow, bugle ; answer, echoes — dving, dying, dying ! 



56 



VOCAL GYMNASTICS. 



O lore, they die iu yon rich sky ; 

They faint on hill, or field, or river : 
Our echoes roll from soul to soul, 
And grow for ever and for ever. 
Blow, bugle, blow! set the wild echoes flying, 
And answer, echoes, answer — dying, dying, dying ! 

II. The Oeotund is tlie Pure Tone deepened, enlarged, 
and intensified. It is used in all energetic and vehement 
forms of expression, and in giving utterance to grand and 
sublime emotions ; as, 

1. Strike — till the last armed foe expires ; 
Strike — for your altars and your fires ; 
STRIKE — for the green graves of your sires ; 

God — and your native land ! 

2. The sky is changed ! and such a change ! O Xight, 
And Storm, and Darkness, ye are wondrous strong, 
Yet lovely in your strength, as is the light 

Of a dark eye in woman ! Far along, 
From peak to peak, the rattling crags among, 
Leaps the live thunder ! — not from one lone cloud. 
But every mountain now hath found a tongue ; 
And Jura answers, through her misty shroud, 
Back to the joyous Alps, who call to her aloud ! 

III. The Aspirated Tone is an expulsion of the breath more 
or less strong, the words being spoken in a whisper. It is 
used to express amazement, fear, terror, horror, revenge, and 
remorse; as, 

1. The ancient Earl, wifli stately grace. 
Would Clara on her palfrey place. 
And whisper, in an nndor-tone, 

''Let the hawl sfooj), Jiis jjrci/ isJiownJ' 

2. How ill this taper burns ] 
Ha ! who comes here ? 

Cold drops of sweat hang on my trembling flesh. 
My blood grows chilly, and I freeze with horror ! 



QUALITY. 



57 



lY. The Guttural is a deep under-toiie, used to express 
hatred, contempt, and loathing. It usually occurs on the 
emphatic words ; as, 

1. Thou slave, thou wr^etch, thou coward! 
Thou cold-blooded slave ! 

Thoit wear a lion's hide ? 

Doff it, for shame] and hang 

A calfskin on those recreant limbs. 

2. Thou stand'st at length before me undisguised, 
Of all earth's groveling crew the most accursed ! 
Thou worm ! thou riper ! — to thy native earth 
Return ! Awav ! Thou art too base for man 
To tread upon. Thou scum ! thou reptile ! 

Y. The Tremulous Tone, or tremor, consists of a tremulous 
iteration, or a number of impulses of sound of the least assign- 
able duration. It is used in excessive grief, pity, plaintiveness, 
and tenderness ; in an intense degree of suppressed excite- 
ment, or satisfaction ; and when tlrfe voice is enfeebled by age. 

The Tremulous Tone should not be applied tliroughout 
the whole of an extended passage, but only on selected em- 
phatic words, as otherwise the effect would be monotonous. 
In the second of the following examples, where the tremor 
of age is supposed to be joined wifli that of supplicating 
distress, the tremulous tone may be applied to every em- 
phatic syllable capable of prolongation, wdiich is the case 
with all except those of ^ity and shortest; but even these 
may receive it in a limited degree. 

1. Jove, remaiii ! It is not yet near day ! 
It was the nightingale, and not the larh, 
That pierced the fearful hollow of thine ear ; 
Nightly she sings in yon pomegranate-tree. 
'Believe me, love, it was the nightingale. 

2. Fity the sorrows of a poor o^.d man, 

Whose trembling limbs have borne him to your door, 
Whose days are dwindled to the shortest span : 
give relief, and Heaven will bless your store. 

3* 



68 



VOCAL GYMNASTICS. 



Rate. 

Rate^ refers to movement, and is Quick, Moderate, or 
Slow. 

I. Quick Rate is used to express joy, mirth, confusion, 
violent anger, and sudden fear ; as, 

1. The lake has burst ! The lake has burst ! 

Down through the chasms the wild waves flee : 
They gallop along, with a roaring song, 
Away to the eager awaiting sea ! 

2. And there was mounting in hot haste : the steed, 

The mustering squadron, and the clattering car 
Went pouring forward wifti impetuous speed, 
And swiftly forming in the ranks of war. 

II. Moderate Rate is used in ordinary assertion, narration, 
and description ; in clieerfnlness, and the gentler forms of 
the emotions ; as, 

1. When the sun walks upon the blue sea-waters, 
Smiling the shadows from yon purple hills, 
We pace this shore, — I and my brother here. 
Good Gerald. We arise with the shrill lark. 
And both unbind our brows from sullen dreams ; 
And then doth my dear brother, who hath worn 
His cheek all pallid with perpetual thought. 
Enrich me with sweet words ; and oft a smile 
Will stray amidst his lessons, as he marks 
New wonder paint my cheek, or fondly reads, 
Upon the burning page of my black eyes. 
The truth reflected which he casts on me. 



'Exercise on Rate. — For a gon- articulation ceases. Having done this, 

oral exercise, select a sentence, and reverse the process, repeating slower 

deliver it as slow as may be possible and slower. This exercise will enable 

without drawling. Repeat the sen- ])upils to ac(iuire the ability to increase 

tence with a slight incnuise of rate, and diminish rnU) at pleasure, which 

until you shall have readied a rapid- is one of the most important elements 

ity of utterance at whicli distinct of good readin,^ and speaking. 



HATE. 



I have sinuous shells of pearly liuo 

Within, and they that luster have imbibed 

In the sun's palace-porch, where, when unyoked, 

His chariot-wheel stands midway in the w^ave : 

Shake one and it awakens, then apply 

Its polished lips to your attentive ear, 

And it remembers its august abodes. 

And murmurs as the oceau murmurs there. 



III. Slow Rate is used to express grandeur, vastness, 
thos, solemnity, adoration, horror, and consternation ; as, 

1 . The curfew tolls the knell of parting day ; 

The lowing herd winds slowly o'er the lea ; 
The plowman homeward plods his weary way. 
And leaves the world to darkness and to nic. 

2. Roll on, thou deep and dark-blue ocean — roll ! 

Ten thousand fleets sweep over thee in vain : 
Man marks the earth with ruin — his control 

Stops with the shore ; — upon the watery plain 

The wrecks are all thy deed, nor doth remain 
A shadow of man's ravage, save his own, 

When, for a moment, like a drop of rain. 
He sinks into thy depths with bubbling groan, 
Without a grave, unknelled, uncoffined, and unknown. 

3. thou Eternal One ! whose presence bright 

All space doth occupy, all motion guide ; 
Unchanged through time's all-devastating flight ; 

Thou only God ! There is no God beside ! 
Being above all beings ! Mighty One, 

Whom none can comprehend and none explore ! 
Who fill'st existence with Thyself alone — 

Embracing all, supporting, ruling o'er — 
Being whom we call God, and know no more ! 



60 



VOCAL GYMNASTICS. 



Y. M O ]Sr O T O K E 

MOIs'OTOI^E consists of a degree of sameness of sound ^ 
or tone, in a number of successive words or syllables. 
It is very seldom the case that a perfect sameness is to be 
observed in reading any passage or sentence. But very little 
variety of tone, or, in other words, the monotone, is to be 
used in reading either prose or verse which contains elevated 
descriptions, or emotions of solemnity, sublimity, or rever- 
ence. The monotone usually requires a low tone of the 
voice, loud or prolonged force, and a slow rate of utterance. 
It is this tone only, that can present the conditions of the 
supernatural and the ghostly. 

The sign of monotone is a horizontal line over the words 
to be spoken without intiection. 

Exercises. 

1. Lord, thou hast been our dwelling-place in all generations\ 
Before the mountains were brought forth, or ever thou hadst formed 
the earth and the world, even from everlasting to everlasting, Thou 
art God\ 

2. Then the earth shook and trembled^; the foundations, also, of 
the hills moved, and were shaken', because he was wroth\ There 
w^ent up a smoke out of his nostrils, and fire out of his mouth de- 
voured\ He bowed the heavens, also, and came down, and darkness 
was under his feet'; and he rode upon a cherub, and did fly'; yea, he 
did lly upon the wings of the wind\ 

3. Man dieth, and wasteth away^: yea, man giveth up the ghost', 
and where is he^ ? As the waters fail from the sea, and the flood 
decayeth and drieth up', so man lieth down, and risetli not^ ; till the 
heavens~be ncTmore, they shall not awake', nor l)e raised out of tlieir 
sleep\ 



MONOTONE. 



61 



4. Hi^'ii on a throno of royal state, which far 

Ootshdne the wealth of Orraus or of Ind, 
Or where the gorgeous East, wifh richest hand, 
Showers on her kings barbaric pearl and gold', 
Satan exalted sat^ ! 

How reverend is the face of this tall pile. 
Whose ancient pillars rear their marble heads, 
To bear aloft its arched and ponderous roof. 
By its own weight made steadfast and immovable', 
Looking tranquillity^ ! It strikes an awe 
And terror on my aching sight^: the tomb j 
And monumental caves of death look cold. 
And shoot a chillness' to my trembhng heart\ 
6. Our revels are now ended : these our actors, 

As I foretold you, were all spirits, and 
Are melted into air, into thin air ; 
And like the baseless fabric of this vision', 
The cloud-capp'd towers, the gorgeous palaces, 
The solemn temples, the great globe itself — 
Yea, all which it inherit^ shall dissolve'. 
And, like this unsubstantial pageant, faded' — 
Leave' not a rack^ behind\ 
t. In thoughts from the visions of the night, when deep sleep 
falleth on men, fear came upon me, and trembling, which made all 
my bones to shake\ Then a spirit passed before my face' : the hair 
of my flesh stood up\ It stood still, but I could not discern the 
form thereof^: an image was before mine eyes': there was silence, 
and I heard a voice saying,' Shall ihortal man bo more just than 
Grod'? Shall a man be more puro than his Maker'? 



62 



VOCAL GYMNASTICS. 



8. I am thy father's spirit ; 

Doomed for a certain term to walk the night, 

And, for the day confined to fast in fires, 

Till the foul crimes, done in my days of nature, 

Are burnt and purged away\ But that I am forbid. 

To tell the secrets of my prison-house, 

I could a tale unfold', whose lightest word 

^Vould harrow up thy soul^; freeze thy young blOod^; 

Make thy two eye^. like stars, start from their spheres'; 

Thy knotted and combined locks to part\ 

And each particular hair to stand on end'. 

Like quills upon the fretful porcupine': 

But this eternal blazon must not be 

To ears of fl"esli and blood' :—List\ — list', — iistM — 

If thou didst ever thy dear father lore', 

Revenge his foul and most unnatural murder\ 

YI. PEKSOXATIOI^. 

PERSOXATIOX consists of those iiiodiilatious or changes 
of tlie voice necessary to represent two or more persons 
as speaking. 

This principle of ex])ression, upon the correct application 
of which ninch of the beauty and efficiency of delivery de- 
pends, is employed in reading dialogues and other pieces of 
a conversational nature. The student should exercise his 
discrimination and ingenuity in studying the characters of 
persons to be represented, — fully informing himself with 
regard to tlieir tcm])erament and peculiarities, as well as 
their condition and feelings at the time, — and so modulate 
his voice as best to personate them. 



PAUSKS. 



63 



Exercise. 

He. Dost thou love wandering ? Whither wouldst thou go ? 
Dream'st thou, sweet daughter, of a land more fair ? 
Dost thou not love these aye-blue streams that flow ? 
These spicy forests ? and this golden air ? 

She. Oh, yes, I love the woods, and streams, so gay ; 
And more than all, father, I love tliee ; 
Yet would I fain be wandering — far away. 

Where such things never were, nor e'er shall be. 

He. Speak, mine own daughter with the sun-bright locks I 
To what pale, banished region wouldst thou roam ? 

She. O father, let us find our frozen rocks ! 

Let's seek that country of all countries — Home ! 

He. Seest thou these orange flowers ? this palm that rears 

Its head up toward heaven's blue and cloudless dome ? 

She. I dream, I dream ; mine eyes are hid in tears ; 

My heart is wandering round our ancient home. 

He. Why, then, we'll go. Farewell, ye tender skies, 

Who sheltered us, when we were forced to roam I 

She. On, on ! Let's pass the swallow as he flies ! 

Farewell, kind land ! Now, father, now — for Home ! 

For further exercises in Personation, the student is referred 
to the selections entitled Lady Clare, Maud Muller, and 
The Kose and the GArNXLET. 

TII. PAUSES. 

PAUSES are suspensions of the voice in reading and 
speaking, used to mark expectation and uncertainty, 
and to give effect to expression. Pauses are often more elo- 
quent than words. They differ greatly in their frequency 
and their length. In lively conversation and rapid argu- 
ment, they are comparatively few and short. In serious, 
dignified, and pathetic speaking, they are far more numer- 
ous, and more prolonged. 



64 



VOCAL GYIVINASTICS. 



The pause is marked thus ^, in ihe following illustrations 
and exercises. 

EULES FOR THE UsE OF PaUSES. 

1. l^OMiNATivKS. — A pause is j-equired after a comj^ound 
nominative,, in all cases ; and after a nominative consisting 
of a single word, w^hen it is either emjyhatic^ or is the leading 
subject of discourse ; as, 

Joy and sorrow ^ move him not. No people ^ can claim him. Xo 
country Mean appropriate him. 

2. Words in Apposition. — A pause is required after words 
which are in apposition with ^ i}X oppjositioii to^ each other; as, 

Solomons the son of David *^ was king of Israel. False delicacy 
is affectation not politeness. 

3. A Transition. — A pause is required after hut^ keime^ 
and other words denoting a marked iransition, when they 
stand at the beginning of a sentence ; as, 

But*»iit was reserved for Arnolds to blend all these bad qualities 
into one. Hence Solomon calls the fear of the Lord ^ the beginning 
of wisdom. 

4. CoNJDNCTiONS AND Rklatives. — A pause is required 
before that^ when a conjunction or relative, and the relatives 
who^ which^ what j together with when^ whence., and other 
adverbs of time and place, which involve the idea of a 
relative ; as. 

He went to schools that he might become wise. This is the 
man ^ that loves me. We were present ^ when La Fayette embarked 
at Havre for New York. 

5. The Infinitiyk. — A pause is required before the infini- 
tive moocl^ when governed by another verb, or separated by 
an intervening clause from the word which governs it ; as. 

He has gone ^ to convey the news. He smote me wifh a rod ^ to 
please my enemy. 

G. In casks of Ellipsis, a pause is required where one or 
more words are omitted ; as, 



SUSPENSIVE QUANTITY. 



65 



So goes the world : if ^ wealthy, you may call this ^ friend, 
that ^ brother. — A poor fellow m witty and wise, entered the room. 
He walked on this side ^ and then on that ^ he tried to introduce a 
social chat ; but some ^ formally and freezingly repUed^and some^ 
said by their silence, better stay at home. 

7. Qualifying Clauses. — Pauses are used to set off qxiali- 
fying clauses by themselves ; to separate qualifying terms 
froui each other, when a number of them refer to the same 
word ; and when an adjective follows its noun ; as, 

The rivulet sends forth glad sounds, and ^ tripping o'er its bed of 
pebbly sands, or leaping down the rocks seems with continuous 
laughter to rejoice in its own being. He had a mind ^ deep ^ 
active ^ well stored with knowledge. 

These rules, though important, if properly applied, are by 
no means complete ; nor can any be invented which shall 
meet all the cases that arise in the complicated relations of 
thought. A good reader or speaker pauses, on an average, 
at every fifth or sixth word, and in many cases much more 
frequently. His only guide, in many instances, is a discrim- 
inating taste in grouping ideas, and separating by pauses 
those which are less intimately allied. In doing this, he will 
often use w^hat may be called 

Suspensive Quantity. 

Suspensive Quantity means prolonging the end of a word, 
without actually pausing after it ; and thus suspending, 
without wholly interrupting the progress of sound. 

The prolongation on the last syllable of a word, or Sus- 
pensive Quantity, is indicated thus", in the following 
examples. It is used chiefly for three purposes : 

1st. To prevent too frequent a recurrence of pauses ; as. 

Her lover~sinks — she sheds no ill-timed tear ; 

Her chief~is slain — she fills his fatal post ; 
Her fellows~flee — she checks their base career ; 

The foe~retires— she heads the rallying host. 



66 



VOCAL GYjVINASTICS. 



2d. To produce a slighter disjunction than would be made 
by a pause; and thus at once to separate and unite; as, 

Would you kilPyour friend and benefactor ? Would you practice 
liypocrisy~and smile in his face, while your conspiracy is ripening ? 

3d. To break up the current of sound into small portions, 
which can be easily managed by the speaker, without the 
abruptness which would result from pausing wherever this 
relief was needed ; and to give ease in speaking ; as, 

1. Warms in the sun, refreshes in the breeze, 
Glows~in the stars, and blossoms in the trees ; 
Lives through all life, extends through all extent, 
Spreads undivided, operates unspent, 

2. That lame~~man, by the field tent, is untainted~with the crime 
of blood, and free from any stain of treason. 

General Rule. 

Whenever a preposition is followed by as many as three 
or four words which depend upon it, the word preceding 
the preposition will either have suspensive quantity, or else 
a pause ; as, 

He is the pride of the whole country. 

Require students to tell which of the preceding rules or 
principles is illustrated, wherever a mark, representing the 
pause or suspensive quantity, is introduced in the following 

Exercise. 

1. It matters very little what immediate~spot may have been 
the birth-place of such a man as Washington, No people -"^^ can 
claim '"^'"^ no country^ can appropriate him. The boon of Provi- 
dence to the human race H his fame *^ is eternity ^ --i and his dwelling- 
place creation, 

2. Though it was the defeat of our arms '■land the disgraces of 
our policy ""^M I almost bless^the convulsion '•i in which he had his 
origin. If the heavens thundered ^ an(J the earth rocked ^ ^ yet ^ 



PAUSES. 



67 



when the storm passed ^ how pure~was the climate ^ that it 
cleared ^ how bright ^ in the brow of the firmament ^ was the 
planet *>i which it revealed to us ! 

3. In the production of Washington ^ it does really appears as if 
natures was endeavoring to improve upon herself and that all 
the virtues of the ancient world ^ were but so many studies M pre- 
paratory to the patriot of the new. Individual instances ^ no doubt 
there were splendid exemplifications of some single qualification. 
Caesar m was merciful ^ ^ Scipio was continent Hannibal m was 
patient. But it was reserved for Washington to blend'~them all 
in one ^ and like the lovely masterpiece ■ of the Grecian artist ^ to 
exhibit ^ in one glow of associated beauty ^ the pride~of every 
model and the perfection of every master. 

4. As a general he marshaled the peasants into a veteran 
and supplied by discipline -"-i the absence of experience. As a states- 
man^^ he enlarged the policy of the cabinets into the most com- 
prehensive system of general advantage. And such ^ was the 
wisdom~of his views ^ and the philosophy~of his counsels ^"-1 that 
to the soldier and the statesman *»i he almost added '•-i the character 
of the sage. 

5. A conqueror he was untainted with the crime of blood ^"^i 
a revolutionist he was free"from any stam of treason ^ for aggres- 
sion~commenced the contest and his country~called him to the 
field. Liberty^ unsheafhed his sword ^ ^ necessity ^ stained vic- 
tory returnetl it. 

6. If he had paused /lere history might have doubted^ what 
station to assign him ^ whether at the head of her citizens^ or 
her soldiers '=^^lier heroes '-■i or her patriots. But the last~glorious~ 
act ^ crowns^his career ^ and banishes all hesitation. Who ^ like 
Washington after havhig emancipated a hemisphere '«^, resigned~its 
crown and preferred the retirement of domestic life '•i^, to the ado- 
ration of a land he might almost be said to have created? 

1. How~shall we rank thee upon glory' s~page, 

Thou more than soZ^izer*^ and just less than sage/ 
All thou hast^heen 'i reflects less~praise ^ on thee, 
Far~"less m than all thou hast forborne^to be. 



68 



VOCAL GYMNASTICS. 



YIII. MEASUKE AND KHYTHM OF YEKSE. 

AYERSE is a line of poetry, and consists of a certain 
number of accented (or lieavy) and unaccented (or 
light) syllables, following each other in regular order. 
. A Measure, or foot^ is a succession or group of accented 
and unaccented syllables. These measures were called feet^ 
because among the Greeks their time, in j^ronunciation, was 
regulated by the foot of the Coryphe^is, or director of the 
choirs. 

A Stanza consists of a certain number of verses, or lines. 
A Couplet is a stanza of two verses ; a Triplet^ of three. 

Scansion, or scanning^ is the act of dividing a verse into 
the measures or feet that compose it. 

Yersification is perfect, so far as concerns measure (says 
Mr. Mulligan), when the arrangement of the words in a 
verse is such that, regarded as mere prose, the relative force 
which the syllables demand for correct pronunciation cor- 
responds with the demands of the measure of the verse ; in 
other words, w^hen the good pronunciation of a passage nat- 
urally produces metrical melody. 

All the feet used in poetry consist either of two or of three 
syllables, and are reducible to eight kinds, namely : a Tro- 
chee, an Iambus, a Spondee, and a Pyrrhic, being of two 
syllables each ; and the four remaining ones, a Dactyl, an 
Amphibrach, an Anapest, and a Tribrach, of three. 

A Trochee has the first syllable accented, and the last un- 
accented ; as. Lovely, pettish. 

An Iambus has the first svllable unaccented, and the last 
accented ; as. Away, resist. 

A Spondee has both the words or syllables accented, or 
heavy ; as. Full moon. 

A Pyrrhic has both the words or syllables unaccented ; 
as. On the tall tree. 

A Dactyl has the first syllable accented, and the two 
latter unaccented ; as. Laborer, possible. 



MEASURE AND RHYTHM OF VERSE. 



69 



An Amphibrach has the first and last syllahles unaccent- 
ed, and the middle one accented ; as, Delightful, domestic. 

An Anapest has the first two syllables unaccented, and 
the last accented ; as. Contravene, acquiesce. 

A Tribrach has all its syllables unaccented ; as, l^mnera- 
hhy conquer ctble. 

The Principal Feet, so called because pieces of poetry 
may be chiefly or wholly formed of any of them, are the 
Trochee, Iambus, Anapest, and Dactyl. 

Trochaic Yerse, 

Softly I sweet in | Lydian | measures | 
Soon he | soothed his | soul to | pleasures 

Iambic Yerse. 

In fa|ble's dress | the breath | of gen|ius poured, 
And warmed | the shapes | that lat|ter times | adored 

Anapestic Yerse. 

May I g6v|ern my pas|sions with abjsolute sway ; | 
And grow wis|er and bet|ter as life | wears away. 

Dactylic Yerse. 

Hail to the | chief who in | triumph ad|vances ; 

Honored and | blest be the | ever-green | pine ! 
Long may the | tree in his | banner that | glances 

Flourish, the | shelter and | grace of our | line ! 

A strict conformation to the above mechanical measure- 
ment and scanning of verse, wdiicli makes all the measures 
alike, taking the first measure in a line for a model, is to be 
studiously avoided whenever it interferes with the grammatic 
relation of syllables, by separating such as belong to each 
other in the formation of grainmatic words and phrases. 
For example, making trochees of the feet in the following 
line — 

Stand, the | ground's your | own, my | braves I — 



70 



VOCAL GYMNASTICS. 



didocates almost every syllable from its grammatic fellow, 
and destroys the sense. Tliis sentence, in a natural and 
proper method of reading, is scanned — 

Stand, "1 I the ground's | your own, | my braves ! 

Rhythm consists in making the measures in reading or 
speaking all equal, or multiples of each other, so that if you 
choose to divide the time of sound and of rest by formal 
heats^ these shall all come at equal intervals, and l)e coin- 
cident with the measures or equal parts of a measure. 

Rhythm may be applied to reading or recitation, in con- 
nection with Calisthenics or Gymnastics, by making the 
unit of measuring time the same as in music, a beat of the 
hand, foot, or metronome, or a motion from any assignable 
l^osition. 

Probably no combination has been devised, in Physical 
Training, that is at the same time as interesting and useful 
as that of Poetic Recitation with Calisthenics or Gymnastics. 
Let the daily practice of this combination be continued for 
a few weeks, especially in the open air, and the student will 
be surprised at the new powers — the depth, the mellowness, 
and the purity of his voice. 

In the recitation of the following selections, wlien connect- 
ed with calisthenic or gymnastic exercises, it is necessary to 
so divide the stanzas as to make each verse consist oi eight 
heats^ ov four feet. The instructor, however, in order to avoid 
the sing-song style of reading which is produced by the 
accentuation of little and insignificant words, will require 
students to apply carefully the principles of Expression — 
especially Emphasis^ SIicTj and Pauses — to each selection. 

KEY 

TO THE SOUNDS OF MARKED LETTERS. 

age or age, at or at, art, all, bare, ask; we or we, end or end, 
her; ice or ice, in or m; old or old, on or on, do; mute or 
mute, up or "up, full ; fhis ; azure ; real ; aged. 



THE CLIME OF THE EAST. 



71 



TV. 

RECITATIONS IN VERSE 



The Clime of the East.^ 

KNOW ye the Jaacl where the cypress and myrtle 
. Are emblems of deeds that are done in their clime ; 
Whero the rage of the vultm^e, the love of the tiirtle,^ 

Novf melt into sorrow, now madden to crime ? 
Know ye the land of the cedar and vine, 
Where the flowers ever blossom, the leaves ever shine ; 
Where the light wings of zephyr,^ oppressed with perfiime, 
Wax faint o'er the gardens of Gul^ in her bloom ! 
Where the citron and olive are fairest of fruit. 
And the voice of the nightingale never is mute ; 
Where the tints of the earth, and the hues of the sky, 
In color though varied, in beauty may vie, 
And the purple of O'cean is deepest in dye ; 
Wh:r2 the virgins are soft as the roses they twine, 
And all, save the spirit of man, is divine ? 
'Tis the clime of the East, — 'tis the land of the slin ! 
Can he smile on such deeds as his children have done ? 
Oh ! wild as the accents of lovers' farewell. 
Are the hearts which they bear, and the tales which they tell. 

Byeon. 

^ Direction. — The student will universally regarded with affection, 
mark the vowels in the accented or and considered the most perfect em- 
lieavy syllables of all the Selections blem of connubial attachment. Few 
for Recitation, as a guide for pulsation birds have been more sung by poets, 
and remission of voice. The above or appealed to by lovers. It is also 
Exercise is marked in the manner called turtle-dove and turtle-pigeon. 
indicated. ^ Zephyr (zef er), the west wind ; 

^ Turtle (ter'tl), a migratory bird poetically, any mild, soft wind, 
of the pigeon family. It is almost ^ Gul (gul), the rose. 



72 



VOCAL gy:\inastics. 



The Voice of Spring. 

I COME ! I come ! ye have called me long,' 
I come o'er tlie momitains wifti light and song ; 
Ye may trace my step o'er the- wakening earth 
By the winds which tell of the violet's birth,^ 
By the primi'ose stars in the shadowy grass/ 
By the green leaves opening as I pass. 

I have breathed on the south, and the chestnut-fiowere 
By thousands have burst^ from the forest-bowers : 

And the ancient graves, and the fallen fanes, 
Are vailed with wreaths on Italian® plains. 
But it is not for me, in my hour of bloom, 
To speak of the ruin" or the tomb I 

I have passed o'er the hills of the stormy Xorth, 

And the larch has hung all his tassels forth : 

The fisher is out on the sunny sea, 

And the reindeer bounds through the pasture* free, 

And the pine has a fringe of softer green, 

And the moss looks bright where my step harS been. 

I have sent through^ the wood-paths^'^ a gentle sigh. 
And called out each voice of the deep-blue sky, 
From the night-bird's lay through the stan*y time, 
In the groves of the soft Hesperian" chme, 
To the swan's wild note by the Iceland lakes, 
When the dark fir-bough into verdm'e^- breaks. 

From the streams and founts I have loosed the chain ; 
They are sweeping on to the silvery main, 
They are flashing down from the mountain-brows, 
They are flinging spray on the forest-boughs, 



^ Long (long), see Xote 6, p. 20. 
^ The (thu). see Eule 2. p. 20. 
^ Birtli (bertli). see Xote 5, p. 20. 
■* Grass (gras^i. see Xote 4, p. 20. 

* Burst (berst). see Xote 5. p. 20. 

* Italian (ft til' yan\ 

^ Ruin (ro in), see Rule 3, p. 29. 



^ Pasture (past yer). 

^ Through (tkro). 
Paths (pathz). 

" Hesperian (lies pe' ri an), occi- 
dental : western. 

•'^ Verdure (rerd' yer), greenness ; 
freshness of vegetation. 



SONG OF THE STARS. 



73 



They are bursting fresh from their sparry caves, 
And the earth resounds^ wifh the joy of waves. 

Come forth, O ye children of gladness, come I 
Where the violets lie may now be yom*^ home. 
Ye of the rose-cheek and dew-bright eye, 
And the bounding footstep, to meet me, fly ; 
Wifh the lyre, and the wreath, and the joyous lay, 
Come forth to the sunshine, I may not stay. 

Away from the dweUings of careworn^ men, 
The waters are sparkling in wood and glen ; 
Away from the chamber and dusky hearth,"^ 
The young leaves arc dancing^ in breezy mirth ; 
Their light stems thrill to the wild wood strains, 
And youth® is abroad in ray green domains. 

The Summer is hastening'', on soft winds borne, 

Ye may press the grape, ye may bind the corn ; 

For me I depart to a- brighter shore — 

Ye are marked by care, ye are mine no more. 

I go where the loved v/ho have left you dwell, 

And the flowers are not Death's — fare ye well, farewell i 



T T And the world in the smile of God awoke. 
And the empty realms of darkness and death 
Were moved through their depths by his mighty breath, 
And orbs of beauty and spheres of flame 
From the void abyss by myriads came, — 
In the joy of youth as they darted away, 
Through the widening wastes of space to play, 

* Resounds (re zoundz'). * Dancing (dans' ing). 
^ Your (ySr). « Youth (ySth). 

^ Careworn (kar' worn). ' Hastening (lia'sning). 

* Hearth (harth), liere pronounced ^ A (a), see Rule 1, p. 29. 
herth, to rhyme with mirth. ° Farewell (fIrwM'). 



Mrs. Hemans. 



Song of the Stars. 




HEN the radiant morn of creation broke. 



4 



VOCAL GYMNASTICS. 



Their silver voices in chorus rung, 

And this was the song the bright ones sung : 

Away, away, through the wide, wide sky, — 
The fair blue fields that before us lie, — 
Each sun, wifh the worlds that around him roll. 
Each planet, poised on her turning pole ; 
With her isles of green, and her clouds of white. 
And her waters that lie like fluid light. 

" For the Source of Glory uncovers his face. 
And the brightness 6'erflows unbounded space ; 
And we drink, as we go, the luminous tides 
In our ruddy air and our bloomy sides : 
Lo, yonder tlie living splendors play ; 
Away, on our joyous path, away ! 

" Look, look, through our glittering ranks afar, 

In the infinite azure, star after star, 

How they brighten and bloom as they swiftly pass 1 

How the verdure runs o'er each rolling mass ! 

And the path of the gentle winds is seen, 

Where the small waves dance, and the young woods lean. 

" And see, where the brighter day-beams pour, 
How the rainbows hang in the sunny shower ; 
And the morn and eve, wifh. their pomp of hues, 
Shift o'er the bright planets and shed their dews ; 
And 'twixt them both, o'er the teeming ground, 
With her shadowy cone the night goes round ! 

" Away, away ! in our blossoming bowers. 
In the soft air wrapping these spheres of ours, 
In the seas and fountains that shine wifti morn. 
See, love is l^rooding, and life is born. 
And breathing myriads are breaking from night. 
To rejoice, like us, in motion and light." 

Glide on in your beauty, ye youthful spheres, 
To weave the dance that measures the years ; 
Glide on, in the glory and gladness sent, 
To the furthest wall of the firmament, — • 



THE sailor's song. 



The boundless visible smile of Him, 

To the vail of whose brow your lamps are dim. 

W. C. Beyant. 



The Sailor's Soxa. 

THE sea ! the sea ! the open sea ! 
The blue, the fresh, the ever free ! 
Without a mark, without a bound, 
It runneth the earth's wide regions roimd ; 
It plays wifh the clouds : it mocks the skies : 
Or like a cradled creature hes. 

I'm on the sea I I'm on the sea ! 

I am where I would ever be ; 

With the blue above, and the blue below, 

And silence wheresoever I go ; 

If a storm should come and awake the deep, 

What matter ? I shall ride and sleep. 

I love, oh, how I love to ride 
On the fierce, foaming, bursting tide. 
When every mad wave drowns the moon. 
Or whistles aloft his tempest tune, 
And tells how goeth the world below, 
And why the sou' west blasts do blow. 

I never was on the dull, tame shore, 
But I loved the great sea more and more, 
And backward iiew to her billowy breast. 
Like a bhd that seeketh its mother's nest : 
And a mother she ims and is to me ; 
For I was born on the open sea ! 

Tiie waves were white, and red the mom, 
In the noisy hour when I was born : 
And the whale it whistled, the porpoise rolled, 
And the dolphins bared their backs of gold ; 
And never was heard such an outcry wild 
As welcomed to life the ocean-child I 



VOCAL GYJMNASTICS. 



I've lived since then, in calm and strife, 
Full fifty summers a sailor's life, 
Wifh wealth to spend and a power to range, 
But never have sought nor sighed for change ; 
And Death, whenever he comes to me, 
Shall come on the wild, unbounded sea ! 

B. "W". Procter. 



Life in the West. 

HO ! brothers — come hither and list to my stoiy— 
Merry and brief will the narrative be : 
Here, like a monarch, I reign in my glory- 
Master am I, boys, of all that I see ! 
Where once frowned a forest a garden is smiling — 
The meadow and moorland are marshes no more ; 
And there curls the smoke of my cottage, beguiling 

The children who cluster like grapes round the door. 
Then enter, boys ; cheerly, boys, enter and rest ; 
The land of the heart is the laud of the West ! 

Talk not of the town, boys — give me the broad prairie. 

Where man, like the wind, roams impulsive and free 
Behold how its beautiful colors all vary. 

Like those of the clouds, or the deep-rolling sea ! 
A life in the woods, boys, is even as changing ; 

Wifti proud independence we season our cheer, 
And those who the world are for happiness ranging, 

Won't find it at all, if they don't find it here. 
Then enter, boys ; cheerly, boys, enter and rest ; 
I'll show you the life, boys, we live in the West ! 

Here, brothers, secure from all turmoil and danger, 

We reap what we sow, for the soil is our own ; 
We spread hospitality's board for the stranger, 

And care not a jot for the king on his throne. 
We never know want, for we live by our labor. 

And in it contentment and happiness find ; 
We do what we can for a friend or a neighbor. 

And die, boys, in peace and good-will to mankind 



A PSALM Of LIFE. 



77 



Then enter, boys ; cheerly, boys, enter and rest ; 
You know how we live, boys, and die in the West ! 

George P. Morris. 



A Psalm of Life. 

TELL me not, in mournful numbers, 
Life is but an empty dream 
For the soul is dead that slumbers. 
And things are not what they seem. 

Life is real ! Life is earnest ! 
And the grave is not its goal ;^ 
Dust thou art, to dust returned^'' 
Was^ not spoken of the soul. 

Not enjoyment, and not sorrow. 

Is our destined end or way ; 
But to act, that each to-morrow 

Find us further than to-day. 

Art is long, and Thne is fleeting ; 

And our hearts, though stout and brave. 
Still, like muffled drums, are beating 

Funeral marches to the grave. 

In the world's broad field of battle, 

In the bivouac^ of Life, 
Be not like dumb, driven cattle ! 

Be a hero in the strife ! 

Trust no Future, howe'er pleasant ! 

Let the dead Past bury its dead ! 
Act, — act in the living Present ! 

Heart within, and God 6'erhead ! 



* Goal (gol), the post or mark set 
to bound a race ; the final purpose ; 
design ; the end. 

» Was (woz). 

^Bivouac (biv'wak — here pro- 
nounced biv' o ak, to render the meas- 



ure perfect), the act of an army or 
body of soldiers who pass the night 
without encamping, watching or re- - 
maining in the open air, in the ex- 
pectation of an engagement ; watch 
or guard of a whole arm v. 



VOCAL GYMNASTICS. 



Lives of great meu all remind us 
We can make our lives sublime, 

And, departing, leave behind us 
Footprints on the sands of Time ; 

Footprints, that perhaps another, 

Sailing o'er life's solemn main, 
A forlorn and shipwrecked brother, 

Seeing, shall take heart again. 

Let us, then, be up and doing. 

With a heart for any fate ; 
Still achieving, still pursumg. 

Learn to labor and to wait. 

H. W. Longfellow. 



What Might be Done. 

WHAT might be done if men were wise — 
What glorious deeds, my suffering brother — 
Would they unite, in love and right, 
And cease their scorn of one another ! 

Oppression's heart might be imbued 
Wifti kindling drops of loving-kindness ; 

And Knowledge pour, from shore to shore. 
Light on the eyes of mental blindness. 

All slavery, warfare, lies, and wrongs, 
All vice and crime, might die together ; 

And wine and corn, to each man born. 
Be free as warmth in summer weather. 

The meanest wretch that ever trod. 
The deepest sunk in guilt and sorrow. 

Might stand erect, in self-respect. 
And share the teeming world to-morrow. 

What might be done ? This might be done, 

And more than this, my suffering brother- 
More than the tongue e'er said or sung. 
If men were wise and loved each other. 

Charles Mackay. 



THE NORMAN BARON. 



79 



The Norman Baron. 

IN liis chamber, weak aucl dying, 
Was^ the Norman Baron- lying ; 
Loud, without, the tempest thundered, 

And the castle-tiirret^ shook. 
In this fight was Death the gainer. 
Spite of vassal^ and retainer," 
And the land his sires had plundered. 
Written in the Doomsday-book.'' 

By his bed a monk was seated, 
¥/ho in humble voice repeated 
Many a prayer and pater-noster,' 

From the missaP on his knee ; 
And, amid the tempest pealing. 
Sounds of bells came faintly stealing — 
Bells, that from the neighboring kloster^ 

Ring for the Nativity.^" 

In the hall the serf and vassal 

Held that night their Christmas wassail 

Many a carol, old and saintly. 

Sang the minstrels^^ and the waits 



^ Was (woz). 

- Baron (bar' on), a degree of no- 
bility next to a viscount above and a 
baronet below, being tbe lowest in 
the English House of Peers. 

^ Castle-turret (kas' sl-tur' r6t). 

* Vassal (vas' sal), one wlio holds 
lands of a superior, and owes fealtv 
to him ; a slave. 

^ Retain'er, a dependent ; a hang- 
er-on ; one kept in service. 

Dooms'day-Book, a book made 
hj order of AYilliam the Conqueror, 
in which the extent and limits of the 
lands of England, their proprietors, 
tenures, value, &c., were registered. 

Pater-noster (pa'ter-nos'ter), the 
Lord's Prayer. 



Missal (mis' sal), the Roman 
Catholic Mass-book. 

® Kloster, or Cloister, a monas- 
tery ; a place of religious retirement. 

^° Nativ'ity, birth, here referring 
to the birth of Christ. 

Serf (s^rf), a slave ; or, rather, 
one in servitude, usually attached to 
the soil. 

" Wassail (wos' sil), a drunken 
bout ; a carousal ; anciently, a saluta- 
tion in drinking. 

" Min'strel, a musician of the 
Middle Ages, who was also a poet 
and singer ; a singer. 

Waits, musicians who play by 
nights in the streets at Christmas, 
are still called the tcaits. 



80 



VOCAL GYMNASTICS. 



And so loud these Saxon gleemen 
Sang to slaves the songs of freemen, 
That the storm was heard but faintlv, 
Knocking at the castle-gates : 

Till at length the lays they chanted^ 
Reached the chamber terror-haunted, - 
Where the monk, wi6i accents holy, 

Whispered at the baron's ear : 
Tears upon his eyehds glistened,^ 
As he paused awhile and listened,'* 
And the dying Baron slowly 

Turned his weary head to hear. 

" Wassail for the kingly stranger, 
Born and cradled in a manger ! 
King, like David ; priest, like Aaron, 

Christ is born to set us free !" 
And the lightning showed the sainted 
Figures on the casement painted, 
And exclaimed the shuddering Baron, 

" Miserere, Domixe I"' 

In that hour of deep contrition. 
He beheld, with clearer vision, 
Thi'ough all outward show and fashion, 

Justice, the Avenger, rise. 
All the pomp of earth had vanished, 
Falsehood and deceit were banished. 
Reason spake more loud than passion, 

And the truth wore no disguise. 

Every vassal of his bamier. 
Every serf born to his manor. 
All those wronged and wi'etched creatures 
By his hand were freed again : 



' Chanted (chanted). See Note 4, * Listened (Ifssnd). 

p. 20. ^ Miserere Domine (miz e re're 

^ Haunted (hant'ed). dom' i ne), Have mercy. Master, or 

^ Glistened (glis'snd). Lord. 



THE BLISSFUL DAY. 



And, as on the sacred missal 
He recorded their dismissal, 
Death relaxed his iron features, 
And the monk replied, " Amen !" 

Many centuries have been numbered 
Since in death the Baron slumbered 
By the convent's sculptured portal. 

Mingling wifh the common dust : 
But the good deed, through the ages 
Living in historic pages, 
Brighter grows and gleams immortal, 

Unconsumed by moth or rust. 

H. W. Longfellow. 



Those Evening Bells. 

THOSE evening bells ! those evening bells ! 
How many a tale their music tells 
Of youth, and home, and that sweet time 
When last I heard their soothing chime ! 

Those joyous hours are passed away, 
And many a heart that then was gay. 
Within the tomb now darkly dwells. 
And hears no more those evening bells. 

And so 'twill be when I am gone — 
That tuneful peal will still ring on ; 
While other bards shall walk these dells. 
And sing your praise, sweet evening bells. 

Thomas Mooke. 



The Blissful Day. 

THE day returns, my bosom burns. 
The blissful day we twa did meet ; 
Though winter wild in tempest toiled, 
^^e'er summer sun was half sae sweet. 
4* 



82 



VOCAL GYMNASTICS. 



Than a' the pride that loads the tide, 

And crosses o'er the sultry line — 
Than kingly robes, and crowns, and globes, 

Heaven gave me more — it made thee mine. 

While day and night can bring delight, 

Or nature aught of pleasure give — 
While joys above my mind can move, 

For thee, and thee alone, I live : 
When that grim foe of life below 

Comes in between to make us part, 
The iron hand that breaks our band. 

It breaks my bhss — it breaks my heart ! 

KoBERT Burns. 



When shall We Three meet Agads^? 

WHEX shall we three meet again ? 
When shall we three meet again ? 
Oft shall glowing Hope expu'e, 
Oft shall wearied Love retire, 
Oft shall Death and Sorrow reign. 
Ere we three shall meet again. 

Though in distant lands we sigh, 
Parched beneafli a hostile sky ; 
Though the deep between us rolls. 
Friendship shall unite our souls : 
Still in Fancy's rich domain 
Oft shall we three meet again. 

When the dreams of life are fled. 
When its wasted lamps are dead ; 
When in cold Oblivion's shade. 
Beauty, Povrer, and Fame are laid, 
Where immortal spirits reign. 
There, shall we three meet again. 

Anonymous. 



THE WONDERFUL OXE-HOSS SEAT. 



83 



The Woxderful "One-Hoss Shay." 

A LOGICAL STORY. 

HAYE you heard of the wonderful one-hoss shay, 
That was built in such a logical^ way 
It ran a hundred years to a day, 

And then, of a sudden, it Ah, but stay, 

I'll tell you what happened, without dehiy — 
Scaring - the parson into fits, 
Frighteniug people out of their wits — 
Have you ever heard of that, I say ? 

Seventeen hundred and fifty-five, 
Georgius Secundus"" was then alive — 
Snuffy old drone from the German hive ! 
That was the year when Lisbon^ town 
Saw the earth open and gulp her down. 
And Braddock's army was done so brown. 
Left without a r^calp to its crown. 
It was on the terrible Earthquake-day 
That the Deacon finished the one-hoss shay. 

In ow, in building of chaises, I tell you what, 

There is always, somewhere, a weakest spot — 

In hub, tire, felloe, in spring or thill. 

In panel or crossbar, or floor, or sill, 

In screw, bolt, thoroughbrace — Im'king still. 

Find it somewhere you must and will — 



^ Logical (l6j ' ik al), according to 
the rules of correct reasoning and 
thinking; discriminating. 

^Scaring iscir'ing). 

3 Georgius Secundus, Greorge II., 
king of England, horn in 1683. and 
died October 25, 1760. 

^ Lisbon (liz' bon), a city of west- 
ern Etirope, capital of the kingdom 
of Portugal, situated on the riglit 
bank of the Tagus, near its moutli. in 
the Atlantic Ocean. The earthquake 
here alluded to threw down a consid- 



erable part of the city, and destroyed 
about 60, 000 of its inhabitants. 

^Edward Braddock, Major-gen- 
eral and Commander-in-chief of the 
British forces in America, conducted 
an esj)edition against Fort Duquesne 
(du kan'\. now Pittsburg. On the 9th 
of July, 1755, while attempting to in- 
vest the fort, he fell into an ambush 
prepared l\v the Indians and the 
French, in which he lost nearly one 
half of his troops, and himself re- 
ceived a mortal wound (wond). 



VOCAL GYMNASTICS. 



Above or below, or wifiiiu or without — 

And that's the reason, beyond a doubt, 

A chaise breaks down, but does n't luear out. 

But the Deacon swore — (as Deacons do, 
With ah ''I dew vum" or an " I tell yeou'^) — 
He would build one shay to beat the taown 
'X' the keounty 'n' all the kentry raoun' ; 
It should be so built that it couldn' break daown 
" Fur," said the Deacon, 't's mighty plain 
Thut the weakes' place mus' stan' the strain ; 
'X' the way t' fix it, uz I maintain, 

Is only jest 
To make that place uz strong uz the rest." 

So the Deacon inquhed of the village folk 
Where he could find the strongest oak. 
That could n't be split, nor bent, nor broke — 
That was for spokes, and floor, and sills ; 
He sent for lancewood, to make the thills ; 
The crossbars were ash, from the straightest trees 
The panels of white-wood, that cuts like cheese. 
But lasts like iron for things like these ; 
The hubs from logs from the " Settler's ellum" — 
Last of its timber — they could n't sell 'em — , 
^^ever an ax had seen their chips. 
And the wedges flew from between their lips, 
Their blunt ends frizzled like celery-tips ; 
Step and prop-iron, bolt, and screw, 
Spring, tire, axle, and linchpin too. 
Steel of the finest, bright and blue ; 
Thoroughbrace bison-skin, thick and wide ; 
Boot, top, dasher, from tough old hide, 
Found in the pit where the tanner died. 
That was the way he "put her through." 
There !" said the Deacon, "naow she'll dew !" 

Do ! I tell you, I rather guess 
She was a wonder, and nothing less ! 
Colts grew horses, beards turned gray, 
Deacon and deaconess dropped away. 



THE WONDERFUL OXE-HOSS SHAY. 



Children and grandchildren — where Avere they 
But there stood the stout old one-hoss shay, 
As fresh as on Lisbon-earthquake-day 1 

EiGHTEEX HuxDRED — it Came, and found 
The Deacon's masterpiece strOnG.' and sound. 
Eighteen hundred, mcreas^^^-d hy ten — 
" Hahnsmn kerridge" they called it then. 
Eighteen hundred and twenty came ; — 
Running as usual — much the same. 
Thirty and forty at last arrive : 
And then came fifty — and Fifty-fiye. 

Little of all we value here 

Wakes on the morn of its hundredth year 

"Without both feeling and looking queer. 

Li fact, there's nothing that keeps its youth, 

So far as I know, but a tree and truth. 

(This is a moral that runs at large : 

Take it. — You're welcome. — Xo extra charge, 

First of Xoyember — the Earthquake-day, — 
There are traces of age in the one-hoss shay, 
A general flavor of mild decay — 
But nothing local, as one may say. 
There could n't be — for the Deacon's art 
Had made it so like in every part 
That there was n't a chance for one to start. 
For the wheels were just as strong as the thill 
And the floor was just as strong as the sills, 
And the panels just as strong as the floor, 
And the whipple-tree neither less nor more. 
And the back crossbar as strong as the fore, 
And spring, and axle, and hub encore. 
And yet, as g icIioIp, it is past a doubt 
In another hour it will be v:brn out ! 

Fu'st of Xovember, 'Fifty-five ! 
This morning the parson takes a drive. 
Now, small boys, get out of the way I 
Here comes the wonderful one-hoss shay, 



VOCAL GYAINASTICS. 



Drawn by a rat-tailed, ewe-uecked bay. 

•• Huddiip I"' said the parson. — Off went they 

The parson was working Ms Sunday text — 
Had g ot to fifthly, and stoj^ped perplexed 
At what the — Moses — was coming next. 
All at once the horse stood still. 
Close by the meet'n' -house on the hill. 
— First a shiver, and then a thrill. 
Then something decidedly like a spill — 
And the parson was sitting upon a rock, 
At half-past nme by the meet'n' -house clock- 
Just the hour of the Earthquake shock I 

What do you think the parson found. 
AVhen he up and stared around? 
The poor old chaise hi a heap or moimd. 
As if it had been to the mill and ground I 
You see, of coiu'se, if you're not a dunce, 
How it went to pieces all at once — 
All at ' iice, and nothing first — 
Just as bubbles do when they burst.— 
End of the wonderful one-hoss shay. 
Logic IS Logic. That's all I say. 

0. W. HOIJUJES. 



Hliwaiha's TVooesG. 

' A S unto the bow the cord is 
Xjl So unto the man is woman, 
Though she bends him, she obeys him, 

Tii"U2'h she draws Mm. yet she follows, 

U^elt^s eacii without the other I" 

Thus the youthful Hiawatha 
Said within himself and pondered. 
Much perplexed by various feelmgs. 
Listless, longing, hoping, feariug, 



Hiawatha's wooes'G. 



87 



Dreaming still of Minnehaha,' 
Of the lovely Laughing Water, 
In the land of the Dacotah?.' 

"Wed a maiden of yom' people,'' 
Warning said the old Xokomis f 

Gro not eastward, go not westward. 
For a stranger whom we know not ! 
Like a fire upon a hearth-stone 
Is a neighbor's homely daughter, 
Like the starhght or the moonlight 
Is the handsomest of strangers I" 

Thus dissuading spake Xokomis, 
And my Hiawatha'^ answered 
Only this : " Dear old Xok5mis, 
Very pleasant is the firelight, 
But I like the starhght better, 
Better do I like the moonlight !" 

Gravely then said old Xokomis, 
" Bring not here an idle maiden, 
Bring not here a useless woman. 
Hands unskillful, feet unwilling ; 
Bring a wife with nimble fingers, 
Heart and hand that move together, 
Feet that run on willing errands !" 

Smiling answered Hiawatha : 
In the land of the Dacotahs 
Lives the arrow-maker's daughter, 
Minnehaha, Laughing Water, 
Handsomest of all the women. 
I will bring her to your wigwam. 



^ Minnehalia (min ne ha' ha), — 
Laughing "Water, a waterfall on a 
stream running into the Mississippi, 
cetween Fort Snelling and the Falls 
of St. Anthony ; the Indian name of 
Hiawatha's ^vife, the heroine of the 
taie. 

' Dacotah (dako'ta), or Sioux In- 



dians, a numerous and powerful tribe, 
inhabiting the territory between the 
^Missouri and MississipjDi rivers. 

^ Nokomis .no k6 mis), the grand- 
mother of Hiawatha. 

Hiawatha (he a Tva'tha), the wise 
man, the teacher ; the name of the 
hero of the tale. 



VOCAL GrMXASTICS. 



She shall run upon vour errands, 

Be your starlight, moonhght, firehght, 

Be the sunlight of my people !" 

Still dissuading said Xokomis : 
" Bring not to my lodge a stranger 
From the land of the Da^otahs ! 
Tery fierce are the Dacotahs, 
Often is there war between us, 
There are feuds yet unforgotten, 
Wounds that ache and still may open 

Laughing answered Hiawatha : 
" For that reason if no other, 
Would I wed the fan- Dacotah, 
That our tribes might be united. 
That old feuds might be forgotten, 
And old wounds be healed forever !" 

Thus departed Hiawatha 
To the land of the Dacotahs, 
To the laud of handsome women ; 
Striding over moor and meadow, 
Through interminable forests, 
Through uninterrupted silence. 

On the outskirts of the forest, 
'Twixt the shadow and the sunshine, 
Herds of fall5w deer were feeding, 
But they saw not Hiawatha ; 
To his bow he whispered, ''Fail not!" 
To his arrow whispered, ''Swerve not!" 
Sent it singing on its errand. 
To the red heart of the roebuck ; 
Threw the deer across his shoulder, 
And sped forward without pausing. 

At the doorway of his wigwam 
Sat the ancient Arrow-maker, 
In the land of the Dacotahs 
Making arrow-heads of jasper, 



Hiawatha's wooing. 



89 



Arrow-heads of chalcedony/ 

At his side, in all her beaut}-. 

Sat the lovely Minnehaha, 

Sat his daughter, Laughing Water, 

Plaiting naats of flags and rushes ; 

Of the past the old man's thoughts were, 

And the maiden's of the future. 

He was thinking, as he sat there, 
Of the days when with such arrows 
He had struck the deer and bison, 
On the Muskoday, the meadow ; 
Shot the wild goose, flying southward, 
On the wing, the clamorous Wawa ; 
Thinking of the great war-parties. 
How they came to buy his arrows, 
Could not fight without his arrows. 
Ah, no more such noble warriors 
Could be found on earth as they were! 
Now the men were all like women. 
Only use their tongues for weapon- ! 

She was thinking of a hunter, 
From another tribe and country, 
Young and tall and very handsome. 
Who one morning in the Spring-time, 
Came to buy her father's arrows, 
Sat and rested in the wigwam, 
Lingered long about the doorway. 
Looking back as he departed. 
She had heard her father praise him, 
Praise his courage and his wisdom ; 
Would he come again for arrows 
To the falls of Minnehaha ? 
On the mat her hands lay idle, 
And her eyes were very dreamy. 



* Chalcedony (karse do ni), a sili- used in jewelry — said to have been 
cious stone, consisting of several va- originally found at Clialcedon, in 
rieties, and of various colors, much Asia ; a translucent variety of quartz. 



VOCAL GYMNASTICS. 



Through then' thoughts they heard a footstep, 
Heard a rustling in the branches, 
And wifh glowing cheeks and forehead, 
With the deer upon his shoulders. 
Suddenly from out the woodlands 
Hiawatha stood before them. 

Straight the ancient Arrow-maker 
Looked up gravely from his labor, 
Laid aside the unfinished arrow. 
Bade him enter at the doorway, 
Saying, as he rose to meet him, 
''Hiawatha, you are welcome !" 

At the feet of Lau2,'hinQ^ Water 
Hiawatha laid his burden. 
Threw the red deer from his shoulders ; 
And the maiden looked up at him, 
Looked up from her mat of rushes. 
Said with gentle look and accent, 
" You are welcome, Hiawatha !" 

Yery spacious was the wigwam. 
Made of deer-skin dressed and whitened, 
Wifli the gods of the Dacotahs 
Drawn and painted on its curtains, 
And so tall the doorway, hardly 
Hiawatha stooped to enter. 
Hardly touched his eagle-feathers 
As he entered at the doorway. 

Then uprose the Laughing Water, 
From the ground fair Minnehaha, 
Laid aside her mat unfinished. 
Brought forth food and set before them. 
Water brought them from the brooklet. 
Gave them food in earthen vessels, 
Gave them drink in bowls of bass-wood, 
Listened while the guest was speaking, 
Listened while her father answered, 
But not once her lips she opened, 
Not a single word she uttered. 



Hiawatha's wooing. 



Yes, as in a dream she listened 
To the words of Hiawatha, 
As he talked of old Xokomis, 
Who had nursed him in his childhood, 
As he told of his companions, 
Chibiabos, the musician, 
And the very strong man, Kwasind, 
And of happiness and plenty 
In the land of the Ojibwavs, 
In the pleasant land and peaceful. 

''After many years of warfare. 
Many years of strife and bloodshed, 
There is peace between the Ojibways 
And the tribe of the Dacotahs." 
Thus continued Hiawatha, 
And then added, speaking slowly, 
"That this peace may last forever, 
And our lands be clasped more closely, 
And om- hearts be more united. 
Give me as my wife this maiden, 
Minnehaha, Laughing Water, 
Lovehest of Dacotah Women I*' 

And the ancient Arrow-maker 
Paused a moment ere he answered. 
Smoked a httle whde in silence. 
Looked at Hiawatha proudly, 
Fondly looked at Laughing Water, 
And made answer very gravely : 
''Yes, if Minnehaha wishes ; 
Let your heart speak, Minnehaha I" 

And the lovely Laughing Water 
Seemed more lovely as she stood there, 
Neither wilhng nor reluctant, 
As she went to Hiawatha, 
Softly took the seat beside him. 
While she said, and blushed to say it, 

I -u-ill follow you, my husband I"' 

This was Hiawatha's wooing ! 



VOCAL GY.AIXASTICS. 



Thus it was lie won the daughter 
Of the ancient Arrow-maker, 
In the land of the Dacotahs ! 

From the wigwam he departed, 
Leading with him Laughing Water ; 
Hand in hand they went together, 
Through the woodland and the meadow, 
Left the old man standing lonely 
At the doorway of his wigwam, 
Heard the falls of Minnehaha 
Calling to them from the distance, 
Crying to them from afar off, 
''Fare thee luell, Jlinnehaha f^'' 

And the ancient Arrow-maker 
Tui'ned again unto his labor, 
Sat down by his sunny doorway, 
Murmuring to himself, and saying : 

Thus it is our daughters leaye us, 
Those we loye, and those who loye us ! 
Just when they haye learned to help us, 
When we are old and lean upon them. 
Comes a youth wifh flaunting feathers. 
With his flute of reeds, a stranger 
Wanders piping through the yillage, 
Beckons to the fairest maiden. 
And she folldws where he leads her, 
Leaying all things for the stranger !" 

Pleasant was the journey homeward, 
Through interminable forests. 
Oyer meadow, oyer mountain, 
Oyer riyer, hill, and hollow. 
Short it seemed to Hiawatha, 
Though they journeyed yery slowly. 
Though his pace he checked and slackened 
To the steps of Laughing Water. 

Oyer wide and rushing riyers 
In his arms he bore the maiden ; 
Light he thought her as a feather. 



THE swan's nest. 



As the plume upon his head-gear ; 
Cleared the tangled pathway for her, 
Bent aside the swaying branches, 
Made at night a lodge of branches. 
And a bed with boughs of hemlock, 
And a fire before the doorway 
With the dry cones of the pine-tree. 

From the sky the sun benignant 
Looked upon them through the branches, 
Saying to them, " my children, 
Love is sunshine, hate is shadow, 
Life is checkered shade and sunshine, 
Rule by Love, Hiawatha !" 

From the sky the moon looked at them. 
Filled the lodge wifh mystic splendors, 
Whispered to them, " my children, 
Day is restless, night is quiet, 
Man imperious, woman feeble; 
Half is mine, although I follow ; 
Rule by Patience, Laughing Water !" 

Thus it was they journeyed homeward ; 
Thus it was that Hiawatha 
To the lodge of old Xokomis 
Brought the moonlight, starlight, firelight, 
Brought the sunshine of his people, 
Minnehaha, Laughing Water, 
Handsomest of all the women 
In the land of the Dacotahs, 
In the land of handsome women. 



Mid the beeches of a meadow, 
By a stream-side on the grass ; 
And the trees are showering down 
Doubles of their leaves in shadow, 
On her shining hair and face. 



H. W. LONGFELLO-W. 



The Swan's Nest. 




ITTLE Ellie sits al5ne 



VOCAL GYMNASTICS. 



She has thrown her Ijonnet by ; 

And her feet she has been dipping 
In the shallow water's flow — 
Now she holds them nakedly 

In her hands, all sleek and dripping 
While she rocketh to and fro. 

Little EUie sits alone, 
And the smile she softly uses, 

Fills the silence like a speech ; 

While she thinks what shall be done, 
And the sweetest pleasure chooses. 

For her future within reach. 

Little EUie in her smile 
Chooseth ..." I will have a lover, 

Riding on a steed of steeds ! 

He shall love me without guile ; 
And to Mm I will discover 

That swan's nest among the reeds. 

" And the steed shall be red-roan, 
And the lover shaU be noble. 

With an eye that takes the breath. 

And the lute he plays upon, 
Shall strike ladies into trouble. 

As his sifjord strikes men to death, 

" And the steed it shall be shod 
All in silver, housed in azure, 

And the mane shall swim the wind : 

And the hoofs along the sod 
Shall flash onward and keep measure, 

Till the shepherds look behind. 

But my lover will not prize 
All the glory that he rides in, 

When he gazes in my face. 

He will say, '0 Love, thine eyes 
Build the shrine my soul abides in ; 

And I kneel here for thy grace.' 



THE swan's nest. 



95 



''Then, ay, then — he shall kneel low. 
With the red-roan steed anear him, 

Which shall seem to understand — 

Till I answer, ' Rise and go ! 
For the world must love and fear him 

Whom I gift with heart and hand.' 

" Then he will arise so pale, 
I vshall feel my own lips tremble 

Wifh a yes I must not say — 

Xathless ' maiden-braye, ' Farewell,' 
I will utter and dissemble — 

' Light to-morrow with to-day.' 

" Then he'll ride among the hills 
To the wide world past the river, 

There to put away all wrong : 

To make straight distorted wills, 
And to empty the broad quiver 

Which the wicked bear along. 

" Three times shall a young foot-page 
Swim the stream and climb the mountain 

And kneel down beside my feet — 

' Lo ! my master sends this gage, 
Lady, for thy pity's counting ! 

What wilt thou exchange for it V 

"And the first time, I will send 
A white rosebud for a guerdon, — ' 

And the second time, a glove : 

But the third time— I may bend 
From my pride, and answer — ' Pardon- 

If he comes to take my love.' 

" Then the young foot-page will run- 
Then my lover will ride faster, 
Till he kneeleth at my knee : 
* I am a duke's eldest son ! 



^ Nathless (nath' les), nevertlie- Guerdon (ger' don), a requital ; 

less ; not the less ; notwithstanding. a recompense, or reward. 



VOCAL GYMNASTICS 



Thousand serfs do call me master, — 
But, O Love, I love but thee!^ 

" He will kiss me on the mouth 
Then ; and lead me as a lover, 

Through the crowds that praise his deeds : 

And, when soul-tied by one troth, 
Unto him I will discover 

That swan's nest among the reeds. 

Little Ellie, with her smile 
Not yet ended, rose up gayly. 

Tied the bonnet, donned the shoe — 

And went homeward, round a mile, 
Just to see, as she did daily, 

What more eggs were with the two. 

Pushing through the elm-tree copse 
Winding by the stream, light-hearted, 

Where the osier pathway leads — 

Past the boughs she stoops — and stops ! 
Lo ! the wild swan had deserted — 

And a rat had gnawed the reeds. 

Ellie went home sad and slow: 
If she found the lover ever. 

With his red-roan steed of steeds. 

Sooth I know not! but I know 
She could never show him — never, 

That swan's nest among the reeds! 

Elizabeth Baerett Bbowning, 



She Walks in Beauty. 




HE walks in beauty, like the night 
' Of cloudless climes and starry skies ; 



And all that's best of dark and bright 
Meets in her aspect and her eyes : 

Thus mellowed to that tender light 
Which heaven to gaudy day denies. 



LADY CLARE. 



97 



One shade the more, one ray the less, 
Had half impaired the nameless grace 

Which waves in every raven tress, 
Or softly lightens o'er her face — 

Where thoughts serenely sweet express 
How pure, how dear their dwelling-place. 

And on that cheek, and o'er that brow, 

So soft, so calm, yet eloquent. 
The smiles that win, the tints that glow. 

But tell of days in goodness spent, 
A mind at peace with all below, 

A heart whose love is innocent. 

Byron. 



Lady Clare. 

IT was the time when lilies blow, 
And clouds are highest up in air, 
Lord Ronald brought a lily-white doe 
To give his cousin. Lady Clare. 

I trow they did not part in scorn : 
Lovers long-betrothed were they : 

They two shall wed the morrow morn ; 
God's blessing on the day ! 

" He does not love me for my birth, 
Nor for my lands so broad and fair ; 

He loves me for my own true worth, 
And that is well," said Lady Clare. 

In there came old Alice the nurse, 

Said, Who was this that went from thee ?" 
" It was my cousin," said Lady Clare ; 

" To-morrow he weds with me." 

" God be thanked !" said Ahce the nurse, 
" That all comes round so just and fair : 

Lord Ronald is heir of all your lands, 
And you are not the Lady Clare." 
5* 



VOCAL GYMNASTICS. 



" Are ye out of your mind, my nurse, my nurse 
Said Lady Clare, " that ye speak so wild ?" 

"As God's above," said Alice the nurse, 
" I speak the truth : you are my child. 

" The old EarFs daughter died at my breast ; 

I speak the truth as I live by bread ! 
I buried her like my own sweet child, 

And put my child in her stead." 

" Falsely, falsely have ye done, 

O mother," she said, " if this be true, 

To keep the best man under the sun 
So many years from his due." 

" Nay now, my child," said AUce the nurse, 
" But keep the secret for your life. 

And all you have will be Lord Ronald' 3 
When you are man and wife." 

" If I'm a beggar born," she said, 
" I will speak out, for I dare not lie : 

Pull off, pull off the brooch of gold. 
And fling the diamond necklace by." 

" Nay now, my child," said Alice the nurse, 
" But keep the secret all ye can." 

She said, " Not so : but I will know, 
If there be any faith in man." 

" Nay, now, what faith ?" said Alice the nurse 
" The man will cleave unto his right." 

" And he shall have it," the lady replied, 
" Though I should die to-night." 

" Yet give one kiss to your mother dear ! 

Alas, my child, I sinned for thee." 
" O mother, mother, mother," she said, 

" So strange it seems to me. 

" Yet here's a kiss for my mother dear, 
My mother dear, if this be so ; 



LADY CLARE, 



99 



And lay your hand upon my head, 
And bless me, mother, ere I go." 

She clad herself in a russet gown — 

She was no longer Lady Clare ; 
She went by dale, and she went by down, 

With a single rose in her hair. 

The lily-white doe Lord Ronald had brought 

Leapt up from where she lay, 
Dropt her head in the maiden's hand, 

And followed her all the way. 

Down stept Lord Ronald from his tower : 
" O Lady Clare, you shame your worth ! 

Why come you drest like a village maid, 
That are the flower of all the earth V 

" If I come drest like a village maid, 

I am but as my fortunes are : 
I am a beggar born," she said, 
And not the Lady Clare." 

" Play me no tricks," said Lord Ronald, 
" For I am yours in word and deed. 

Play me no tricks," said Lord Ronald, 
" Your riddle is hard to read." 

Oh, and proudly stood she up ! 

Her heart within her did not fail : 
She looked into Lord Ronald's eyes, 

And told him all her nurse's tale. 

He laughed a laugh of merry scorn : 

He turned and kissed her where she stood : 

" If you are not the heiress born, 

And I," said he, " the next of blood — 

" If you are not the heiress born, 

And I," said he, " the lawful heir, 
We two will wed to-morrow morn, 

And you shall still be — Lady Clare." 

Alfred Tknnysox. 



100 



VOCAL GYMNASTICS. 



Maud Muller. 

MAUD MULLER, on a summer's day, 
Raked the meadow sweet with hay. 
Beneafh her torn hat glowed the wealth 
Of simple beauty and rustic health. 
Singing, she wrought, and her merry glee 
The mock-bird echoed from his tree. 

But when she glanced to the far-off town, 
White from its hill-slope looking down. 
The sweet song died, and a vague unrest 
And a nameless longing filled her breast — 
A wish, that she hardly dared to own. 
For something better than she had known. 

The Judge rode slowly down the lane. 

Smoothing his horse's chestnut mane. 

He drew his bridle in the shade 

Of the apple-trees, to greet the maid. 

And ask a draught from the spring that flowed 

Through the meadow, across the road. 

She stooped where the cool spring bubbled up, 

And filled for him her small tin-cup. 

And blushed as she gave it, looking down 

On her feet so bare, and her tattered gown. 

" Thanks !" said the Judge ; " a sweeter draught 

From a fairer hand was never quaffed." 

He spoke of the grass, and flowers, and trees, 
Of the singing-birds and the humming bees ; 
Then talked of the haying, and wondered whether 
The cloud in the west would bring foul weather. 
And Maud forgot her brier-torn gown, 
And her graceful ankles, bare and brown, 
And listened, while a pleased surprise 
Looked from her long-lashed hazel eyes. 
At last, like one who for delay 
Seeks a vain excuse, he rode away. 



MAUD MULLER. 



Maud Muller looked and sighed : Ah me ! 

That I the Judge's bride might be ! 

He would dress me up in silks so fine, 

And praise and toast me at his wine. 

My father should wear a broadcloth coat, 

My brother should sail a painted boat. 

I'd dress my mother so grand and gay, 

And the baby should have a new toy each day. 

And I'd feed the hungry and clothe the poor, 

And all should bless me who left our door." 

The Judge looked back as he climbed the hill. 
And saw Maud Muller standing still : 
''A form more fair, a face more sweet, 
Ne'er hath it been my lot to meet. 
And her modest answer and graceful air 
Show her wise and good as she is fair. 
Would she were mine, and I to-day, 
Like her, a harvester of hay ! 
No doubtful balance of rights and wrongs, 
Nor weary lawyers wifh endless tongues. 
But low of cattle and song of birds, 
And health, and quiet, and loving words." 

But he thought of his sister, proud and cold, 
And his mother, vain of her rank and gold. 
So, closing his heart, the Judge rode on. 
And Maud was left in the field alone. 
But the lawyers smiled that afternoon, 
When he hummed in court an old love-tune ; 
And the young girl mused beside the well, 
Till the rain- on the unraked clover fell. 

He wedded a wife of richest dower. 
Who lived for fashion, as he for power. 
Yet 6ft, in his marble hearth's bright glow, 
He watched a picturf^ come and go ; 
And sweet Maud Muller' s hazel eyes 
Looked out in their innocent surprise. 



102 



YOCAL GYMNASTICS. 



Oft, when tlie wiue in his glass was red, 
He longed for the wayside well instead ; 
And closed his eyes on his garnished rooms. 
To dream of meadows and clover blooms ; 
And the proud man sighed with a secret pain, 
" Ah, that I were free again ! 
Free as when I rode that day 
Where the barefoot maiden raked the hay.'' 

She wedded a man unlearned and poor. 
And many children played round her door. 
But care and sorrow, and childbirth pain, 
Left their traces on heart and brain. 
And 6ft, when the summer sun shone hot 
On the new-mown hay in the meadow lot, 
And she heard the little spring-brook fall 
Over the roadside, through the wall. 
In the shade of the apple-tree again 
She saw a rider draw his rein, 
And, gazing down with a timid grace. 
She felt his pleased eye read her face 

Sometimes her narrow kitchen-walls 
Stretched away into stately halls ; 
The weary wheel to a spinet^ tm'ned, 
The tallow candle an astraP burned ; 
And for him who sat by the chimney lug, 
Dozing and gruml^ling o'er pipe and mug, 
A manly form at her side she saw. 
And joy was duty, and love was law. 
Then she took up her burden of life again, 
Saying only, " It might have been.'' 

Alas for maiden ! alas for Judge ! 
For rich repiner and household di'udge ! 
God pity them both ! and pity us all, 
Who vainly the dreams of youth recall ; 

^ Spinet, a musical instrument re- lamp having the oil in a flattened 
sembling a liarpsicliord, but smaller, ring surmounted by a Itemispliere 
''■ Astral (as'tral-lamp', an argand of ground glass. 



THE ROSE AND THE GAUNTLET. 



103 



For of all sad words of tongue or pen, 

The saddest are these : It might have been !" 

Ah, well ! for ns all some sweet hope lies 

Deeply buried from human eyes ; 

And in the hereafter, angels may 

KoU the stone from its grave away. 

John Greenleaf "Whittier. 



The Eose and the Gauntlet. 

LOW spake the Knight to the peasant-girl : 
" I tell thee sooth, I am belted Earl ; 
Fly with me from this garden small, 
And thou shalt sit in my castle's hall ; 

" Thou shalt have pomp, and wealth, and pleasure, 
Joys beyond thy fancy's measure ; 
Here wi6i my sivord and horse I stand, 
To bear thee away to my distant land. 

Take, thou fairest, this full-blown rose, 
A token of love that as ripely blows." 
Wifh his glove of steel he plucked the token. 
But it fell from his gauntlet, crushed and broken. 

The maiden exclaimed — " Thou seest. Sir Knight, 
Thy fingers of iron can only smite ; 
And, like the rose thou hast torn and scattered, 
I in thy grasp should be wrecked and shattered." 

She trembled and blushed, and her glances fell ; 

But she turned from the Knight, and said, " Farewell !" 

" Not so," he cried, " will I lose my prize ; 

I heed not thy words, but I read thine eyes." 

He lifted her up in his grasp of steel, 

And he mounted and spurred with furious heel ; 

But her cry drew forth her hoary sire, 

Who snatched his bow from above the fire. 



104 



VOCAL GYMNASTICS. 



Swift from the valley the warrior fled, 

Swifter the bolt of the cross-bow sped ; 

And the weight that pressed on the fleet-foot horse 

Was the living man, and the woman's corse. 

That morning the rose was bright of hue ; 
That morning the maiden was fair to view ; 
But the evening sun its beauty shed 
On the withered leaves, and the maiden dead. 

John Sterling. 



The Bridge of Sighs. 



ONE more unfortunate, 
Weary of breath, 
Rashly importunate, 
Gone to her death ! 

Take her up tenderly, 
Lift her wifli care ! 

Fashioned so slenderly — 
Young, and so fair ! 

Look at her garments, 
Chnging like cerements'. 
While the wave constantly 

Drips from her clothing ; 
Take her up instantly. 

Loving, not loathing ! 

Touch her not scornfully ! 
Think of her mournfully, 

Gently and humanly — 
Not of the stains of her ; 
All that remains of her 

Now is pure womanly. 



Make no deep scrutiny 
Into her mutiny ; 

Rash and undutiful 
Past all dishonor, 
Death has left on her 

Only the beautiful. 

Still, for all sUps of hers — 
One of Eve's family — 

Wipe those poor lips of hers, 
Oozing so clammily. 

Loop up her tresses 

Escaped from the comb — 
Her fair auburn tresses — 
While wonderment guesses. 

Where was her home ? 

Who was her father ? 
Who was her mother ? 
Had she a sister ? 
Had she a brother ? 
Or was there a dearer one 



' Cerement (ser'ment), cloth about dead bodies previous to em- 
dipped in melted wax, and wrapped balming. 



THE BRIDGE OF SIGHS. 



105 



Still, and a nearer one 
Yet, than all other ? 

Alas I for the rarity 
Of Chi'istian charity 

Under the sun ! 
Oh ! it was pitiful ! 
Xear a whole city full, 

Home she had none. 

Sisterly, brotherly. 
Fatherly, motherly 

Feehngs had changed — 
Love, by harsh evidence, 
Thrown from its eminence ; 
Even God's providence 

Seeming estranged. 

Where the lamps quiver 
So far in the river, 

Wifti many a light 
From window and casement. 
From garret to basement, 
She stood, with amazement. 

Houseless by night. 

The bleak wind of March 

Made her tremble and shiver ; 

But not the dark arch, 
. Or the black, flowing river : 

Mad from life's history, 

Glad to death's mystery, 
Swift to be hurled — 

Any where — any where 
Out of the world. 

In she plunged boldly — 
No matter how coldly 



The rough river ran — 
Over the brink of it ! 
Picture it — think of it I 

Dissolute Man ! 
Lave in it, drink of it. 

Then, if you can ! 

Take her up tenderly — 
Lift her wifh care ! 

Fashioned so slenderly — 
Young, and so fair. 

Ere her limbs, frigidly. 
Stiffen too rigidly, 

Decently, kindly, 
Smooth and compose them ; 
And her eyes, close them, 

Staring so blindly ! 

Dreadfully staring 

Through muddy impurity. 
As when wifh the daring 
Last look of despau'ing 

Fixed on futurity. 

Perishing gloomily. 
Spurred by contumely. 
Cold inhumanity, 
Burning insanity, 

Into her rest ! 
Cross her hands, humbly. 
As if praying dumbly, 

Over her breast ! 

Owning her weakness, 

Her evil behavior, 
And leaving wifh meekness 

Her sins to her Saviour ! 

Thomas Hood. 

5* 



106 



VOCAL GYMNASTICS. 



The Influence of Fame. 

OH, who shall lightly say that fame 
Is nothing^ but an empty name, 
While in that sound there is a charm, 
The nerves to brace, the heart to warm ; 
As, thinking of the mighty dead. 

The young from .slothful couch will start, 
And vow, with lifted hands outspread, 
Like them to act a noble part ? 

Oh, who shall lightly say that fame 
Is nothing but an empty name, 
When, but for those, our mighty dead. 

All ages past a blank would be ; 
Sunk in Oblivion's^ murky bed — 

A desert bare — a shipless sea ? 
They are the distant objects seen. 
The lofty marks of what hath been. 

Oh, who shall lightly say that fame 
Is nothing but an empty name, 
When memory of the mighty dead 

To earth-worn pilgrim's wistful eye 
The brightest rays of cheering shed, 

That point to immortality ? 

Joanna Baillik. 



I GIVE MY Soldier-Boy a Blade. 

IGIYE my soldier-boy a blade, 
In fair Damascus fashioned well ; 
Who first the glittering falchion^ swayed. 
Who first beneafh its fury fell, 



* Nothing (nuth'ing). 

^ Oblivion, forgetfulness ; cessa- 
tion of remembrance. " Thou sliouldst 
have heard many things of worthy 
memory, which now shall die in ob- 



livion, and thou return unexperienced 
to the grave." 

^ Falchion (fal'chun), a short, 
crooked sword ; a broad sword with 
a slightly curved point. 



THE LYRE AND SWORD. 



107 



I know not, but I hope to know 
That for no mean or hirehng trade, 

To guard no feelmg base or low, 
I gave my soldier-boy blade. 

Cool, calm, and clear, the lucid'- flood 

In which its tempering work was done, 
As calm, as clear, as cool of mood, 

Be thou whene'er it sees the sun ; 
For country's claim, at honor's call, 

For outraged friend, insulted maid. 
At mercy's voice to bid it fall, 

I give my soldier-boy a blade. 

The eye which marked its peerless edge. 

The hand that weighed its balanced poise, 
Anvil and pincers, forge and wedge, 

Are gone with all their flaming noise — 
And still the gleaming sicord remains ; 

So, when in dust I low am laid, 
Remember, by these heartfelt strains, 

I gave my soldier-boy a blade. 



^HE freeman's glittering si^;ord be blest, — 



JL Forever blest the freeman's lyre, — 
That rings upon the tyrant's crest ; 

This stirs the heart like living fire : 
Well can he wield the shining brand, 
Who battles for his native land ; 

But when his fingers sweep the chords 

That summon heroes to the fray. 
They gather at the feat of swords. 
Like mountain-eagles to their prey ! 



' A (k). See Rule 1, p. 29. ^ Lucid, transparent ; clear. 



"William McGijtn-. 



The Lyre and Sword. 




108 



YOCAL GYMNASTICS. 



And 'mid the vales and swelling hills, 

That sweetly bloom in Freedom's land, 
A living spirit breathes, and fills 

The freeman's heart, and nerves his hand ; 
For the bright soil that gave him birth, 
The home of all he loves on earth, — 

For this, when Freedom's trumpet calls. 
He waves on high his s?x^ord of fire, — 

For this, amid his country's halls. 
Forever strikes the freeman's lyre ! 

His burning heart he may not lend 

To serve a doting despot's sway ; 
A suppliant knee he will not bend. 

Before these things of "brass and clay :" 
When wrong and ruin call to war, 
He knows the summons from afar ; 

On high his glittering si^ord he waves. 
And myriads feel the freeman's fire, 

While he, around their fathers' graves. 
Strikes to old strains the freeman's lyre ! 

George Ltjnt. 



Life without Freedom. 

FROM life without Freedom, say, who would not fly ? 
For one day of Freedom, oh 1 who would not die ? 
Hark ! hark ! 'tis the trumpet ! the call of the brave. 
The death-song of tyrants, the dirge of the slave. 
Our country lies bleeding — oh ! fly to her aid ; 
One arm that defends is worth hosts that invade. 
From life without Freedom, oh ! who would not fly ? 
For one day of Freedom, oh I who would not die ? 

In death's kindly bosom our last hope remains— 
The dead fear no tyrants, the grave has no chains ! 
On, on to the combat ! the heroes that bleed 
For virtue, for mankind, are heroes indeed. 



THE CHARGE OF THE LIGHT BRIGADE. 



And, oh ! even if Freedom from this world be driven, 
Despair not — at least we shall find her in heaven. 
In death's kindly bosom our last hope remains — 
The dead fear no tyrants, the grave has no chains ! 

Thomas Muoiie. 



How Sleep the Brave ! 

HOW sleep the brave, who sink to rest, 
By all their country's wishes blest ! 
When Spring, wifh dewy fingers cold. 
Returns to deck theu' hallowed mold, 
She there shall dress a sweeter sod 
Than Fancy's feet have ever trod. 

By fairy hands their knell is rung ; 
By forms unseen their dirge is sung • 
There Honor comes, a pilgrim gray. 
To bless the turf that wraps their clay ; 
And Freedom shall awhile repair, 
To dwell, a weeping hermit, there. 

WiLLiAjM Collins. 



The Charge of the Light Brigade. 



HALF a league, half a league, 
Half a league onward. 
All in the valley of Death 
Rode the six hundred. 

Forward, the Light Brigade ! 
Charge for the guns!" he said : 
Into the valley of Death 

Rode the six hundred. 



" Forward, the Light Brigade 
Was there a man dismayed ? 
Not though the soldier knew 

Some one had blundered : 
Theirs not to make reply. 
Theirs not to reason why. 
Theirs but to do and die. 
Into the valley of Death 

Rode the six hundred. 



110 



VOCAL GYMNASTICS. 



Cannon to right of them, 
Cannon to left of them, 
Cannon in front of them 

Volleyed and thundered ; 
Stormed at with shot and shell, 
Boldly they rode and well ; 
Into the jaws of Death, 
Into the mouth of Hell, 

Kode the six hundred. 

Flashed all their sabers bare. 
Flashed as they turned in air, 
Sabering the gunners there, 
Charging an army, while 
All the world wondered : 

Plunged in the battery-smoke. 
Right through the line they broke ; 
Cossack and Russian 
Reeled from the saber-stroke, 
Shattered and sundered : — 



Then they rode back — but not, 
Not the six hundred. 

Cannon to right of them. 
Cannon to left of them. 
Cannon behind them, 

Yolleyed and thundered : 
Stormed at wifli shot and shell, 
While horse and hero fell, 
They that had fought so well 
Came through the jaws of Death, 
Back from the mouth of Hell, 
All that was left of them — 

Left of six hundred. 

When can their glory fade ? 
Oil, the wild charge they made ! 

All the world wondered. 
Honor the charge they made I 
Honor the Light Brigade, 

Noble Six Hundred ! 

Alfred Ten^tysox. 



BiNGEN ON THE EhINE. 

A SOLDIER of the Legion lay dying in Algiers, 
There was lack of woman's nursing, there was dearth of 
woman's tears ; 

But a comrade stood beside him, while his life-blood ebbed away, 
And bent with pitying glances, to hear what he might say. 
The dying soldier faltered, as he took that comrade's hand, 
And he said, " I never more shall see my own, my native land ; 
Take a message, and a token, to some distant friends of mine. 
For I was born at Bingen^ — at Bingen on the Rhine. 



^ Bingen. (bing'en), a town of Ger- situated on the left bank of the Rhine 
many, noted for its superior wines, at the influx of the Nahe (na'e). 



BINGEN ON THE RHINE. 



Ill 



" Tell my brothers and companions when they meet and crowd around 
To hear my mournful story in the pleasant vineyard ground, 
That we fought the battle bravely, and when the day was done, 
Full many a corse lay ghastly pale, beneafti the setting sun. 
And midst the dead and dying, were some grown old in wars, 
The death-wound on their gallant breasts, the last of many scar^ : 
But some were young — and suddenly beheld life's morn decline ; 
And one had come from Bingen — fair Bingen on the Rhine ! 

" Tell my mother that her other sons shall comfort her old age, 

And I was aye a truant bird, that thought his home a cage : 

For my father was a soldier, and even as a child 

My heart leaped forth to hear him tell of struggles fierce and wild ; 

And when he died, and left us to divide his scanty hoard, 

I let them take whate'er they would, but kept my father's sw;ord. 

And wifh boyish love I hung it where the bright light used to shine, 

On the cottage-wall at Bingen — calm Bingen on the Rhine ! 

" Tell my sister not to weep for me, and sob wifli drooping head. 
When the troops are marching home again, with glad and gallunt 
tread ; 

But to look upon them proudly, with a calm and steadfast eye, 

For her brother was a soldier too, and not afraid to die. 

And if a comrade seek her love, I ask her in my name 

To listen to him kindly, without regret or shame ; 

And to hang the old si^ord in its place (my father's sword and mine), 

For the honor of old Bingen — dear Bingen on the Rhine ! 

''There's another — not a sister; in the happy days gone by. 
You'd have known her by the merriment that sparkled in her eye ; 
Too innocent for coquetry, — too fond for idle scorning, — 

friend ! I fear the lightest heart makes sometimes heaviest mourn- 

ing ; 

Tell her the last night of my life (for ere the moon be risen 
My body will be out of pain — my soul be out of prison), 

1 dreamed I stood wifh her, and saw the yellow sunhght shine 
On the vine-clad hills of Bingen — fair Bingen on the Rhine ! 

I saw the blue Rhine sweep along — I heard, or seemed to hear. 
The German songs we used to sing, in chorus sweet and clear ; 



112 



VOCAL GYMNASTICS. 



And down the pleasant river, and up the slanting hiil, 

The echoing chorus sounded, through the evening calm and still ; 

And her glad blue eyes were on me as we passed wifh friendly talk 

Down many a path beloved of yore, and well-remembered walk, 

And her little hand lay lightly, confidingly in mine : 

But we'll meet no more at Bingen — loved Bingen on the Rhine!" 

His voice grew faint and hoarser, — his grasp was childish weak, — 
His eyes put on a dying look, — he sighed and ceased to speak : 
His comrade bent to lift him, but the spark of life had fled, — 
The soldier of the Legion, in a foreign land — was dead ! 
And the soft moon rose up slowly, and calmly she looked down 
On the red sand of the battle-field, wifh bloody corpses strew ; 
Yea, calmly on that dreadful scene her pale light seemed to shine, 
As it shone on distant Bingen — fair Bingen on the Rhine ! 

Cakoline Nokton. 



The Widow and Child. 

HOME they brought her warrior dead ; 
She nor swooned nor uttered cry ; 
All her maidens, watching, said, 
" She must weep, or she will die." 

Then they praised him, soft and low, 

Called him worthy to be loved, 
Truest friend and noblest foe ; 

Yet she neither spoke nor moved. 

Stole a maiden from her place, , 

Lightly to the warrior stept. 
Took a face-cloth from the face ; 

Yet she neither moved nor wept. 

Rose a nurse of ninety years, 

Set his child upon her knee — 
Like summer tempest came her tears — 

" Sweet my child, I live for thee."' 

Alfred Tennyson. 



BARBARA FRIETCHIE. 



Barbara Frietchie. 

UP from the meadows rich with corn, 
Clear in the cool September morn, 
The clustered spires of Frederick stand 
Green walled by the hills of Maryland. 

Round about them orchards sweep, 

Apple- and peach-tree fruited deep. 

Fair as a garden of the Lord 

To the eyes of the famished Rebel horde, 

On that pleasant morn of the early fall 

When Lee marched over the mountain wall, — 

Over the mountains winding down. 

Horse and foot, into Frederick town. 

Forty flags wifh their silver stars. 
Forty flags with their crimson bars, 
Flapped in the morning wind : the sun 
Of noon looked down, and saw not one. 

Up rose old Barbara Frietchie then. 

Bowed wifh her fourscore years and ten ; 

Bravest of all in Frederick town. 

She took up the flag the men hauled down ; 

In her attic-window the staff she set. 

To show that one heart was loyal yet. 

Up the street came the Rebel tread, 
Stonewall Jackson riding ahead. 
Under his slouched hat left and right 
He glanced : the old flag met his sight. 

Halt !" — the dust-brown ranks stood fast. 
" Fire !" — out blazed the rifle blast. 
It shivered the window, pane and sash ; 
It rent the banner wifh seam and gash. 



114 



VOCAL GYjMNASTICS. 



Quick, as it fell from the broken staff, 
Dame Barbara snatched the silken scarf ; 
She leaned far out on the window-sill, 
And shook it forth with a royal will. 
"Shoot, if you mud, this old gray head, 
But spare your country^ s flag,^^ she said. 

A shade of sadness, a blush of shame, 
Over the face of the leader came ; 
The noble nature within him stirred 
To life at that woman's deed and word : 
" Who touches a hair of yon gray head 
Dies like a dog ! March ox he said. 

All day long through Frederick street 
Sounded the tread of marching feet : 
All day long that free flag tossed 
Over the heads of the Rebel host. 

Ever its torn folds rose and fell 
On the loyal winds that loved it well ; 
And through the hill-gaps sunset light 
Shone over it with a warm good-night. 

Barbara Frietchie's work is o'er, 

And the Rebel rides on his raids no more. 

Honor to her ! and let a tear 

Fall, for her sake, on Stonewall's bier. 

Over Barbara Frietchie's grave 
Flag of Freedom and Union, wave ! 
Peace and order and beauty draw 
Round thy symbol of light and law ; 
And ever the stars above look down 
On thy stars below in Frederick town ! 

John Gkeenleaf Whittier. 



THE STAR-SPANGLED BANNER. 



115 



The Star-spangled Banner. 

OH ! say, can you see, by the dawn's early light, 
What so proudly we hailed at the twilight's last gleaming ; 
Whose broad stripes and bright stars, through the perilous fight, 

O'er the ramparts we watched, were so gallantly streaming ? 
And the rockets' red glare, the bombs burstuig in air, 
Gave proof through the night that our flag was still there ; 
Oh ! say, does that star-spangled banner yet ware 
O'er the land of the free and the home of the brave ? 

On the shore, dimly seen through the mists of the deep. 
Where the foe's haughty host in dread silence reposes, 

What is that which the breeze o'er the towering steep, 
As it fitfully blows, half conceals, half discloses ? 

!N'ow it catches the gleam of the morning's first beam ; 

Its full glory, reflected, now shines on the stream ; 

'Tis the star-spangled banner, oh ! long may it wave 

O'er the land of the free and the home of the brave. 

And where is the band who so vauntingly swore, 

'Mid the havoc of war and the battle's confusion, 
A home and a country they'd leave us no more ? 

Their blood hath washed out their foul footsteps' pollution ; 
No refuge could save the hireling and slave 
From the terror of flight, or the gloom of the grave ; 
And the star-spangled banner in triumph doth wave 
O'er the land of the free and the home of the brave. 

Oh ! thus be it ever, when freemen shall stand 

Between our loved home and the war's desolation ; 
Blessed with victory and peace, may the heaven-rescued land 

Praise the power that hath made and preserved us a nation ! 
Then conquer we must, for our cause it is just. 
And this be our motto, Ix God is our Trust ;" 
And the star-spangled banner in triumph shall wave 
O'er the land of the free and the home of the brave. 

Francis Scott Key. 



116 



VOCAL GYMNASTICS. 



The Flower of Liberty. 
HAT flower is this that greets the mom, 



T T Its hues from heaven so freshly born ? 
Wifh burning star and flaming band 
It kindles all the sunset land ; 
Oh, tell us what its name may be — 
Is this the Flower of Liberty ? 
It is the banner of the free, 
The starry Flower of Liberty ! 

In savage Nature's far abode 

Its tender seed our fathers sowed ; 

The storm-winds rocked its swelling bud, 

Its opening leaves were streaked wifli blood, 

Till Ic ! earth's tyrants shook to see 

The full-blown Flower of Liberty ! 

Then hail the banner of the free, 

The starry Flower of Liberty ! 

Behold its streaming rays unite 

One mingling flood of braided light, — 

The red that fires the Southern rose, 

Wifh spotless white from Northern snows. 

And, spangled o'er its azure, see 

The sister Stars of Liberty ! 

Then hail the banner of the free, 

The starry Flower of Liberty ! 

The blades of heroes fence it round, 
Where'er it springs is holy ground ; 
From tower and dome its glories spread : 
It waves where lonely sentries tread ; 
It makes the land, as ocean, free, 
And plants an empire in the sea ! 

Then hail the banner of the free, 

The starry Flower of Liberty ! 




UNION AND LIBERTY. 



Thy sacred leaves, fair Freedom's flower, 
Shall ever float in dome and tower, 
To all their heavenly colors true. 
In blackening frost or crimson dew. — 
And God love us as we love thee, 
Thrice holy Flower of Liberty ! 
Then hail the banner of the free, 
The starry Flower of Liberty ! 

0. W. Holmes. 



Union and Liberty. 

FLAG of the heroes who left us then* glory, 
Borne through their battle-fields' thunder and flame, 
Blazoned in song and illumined in story. 
Wave o'er us all who inherit their fame ! 
Up with our banner bright, 
Sprinkled with starry light, 
Spread its fair emblems from mountain to shore. 
While through the sounding sky 
Loud rings the Nation's cry, — 
Uniox and Liberty ! One evermore ! 

Light of our firmament, guide of our Nation, 

Pride of her children, and honored afar, 
Let the wide beams of thy full constellation 
Scatter each cloud that would darken a star ! 
Up wifh our banner bright, 
Sprinkled with starry light, 
Spread its fair emblems from mountain to shore, 
While through the sounding sky 
Loud rings the Nation's cry, — 
Union and Liberty ! One evermore ! 

Empire unsceptered ! What foe shall assail thee. 

Bearing the standard of Liberty's van ? 
Think not the God of thy fathers shall fail thee, 

Striving wifti men for the birthright of man ! 



118 



VOCAL GYMNASTICS. 



Up with our banner bright, 

Sprinkled with starry hght, 
Spread its fair emblems from mountain to shore, 

While through the sounding sky 

Loud rings the [Ration's cry, — 
Union and Liberty ! One evermore ! 

Yet if, by madness and treachery bhghted, 

Dawns the dark hour when the si^-ord thou must draw, 
Then, wifh the arms of thy millions united, 
Smite the bold traitors to Freedom and Law ! 

Up wifh our banner bright. 

Sprinkled with starry light, 
Spread its fair emblems from mountain to shore, 

While through the sounding sky 

Loud rings the Nation's cry, — 
Union and Liberty ! One evermore ! 

Lord of the Universe ! shield us and guide us, 

Trusting Thee always through shadow and sun ! 
Thou hast united us : who shall divide us ? 
Keep us, oh, keep us, the Many in One ! 
Up wifh our banner bright, 
Sprinkled with starry light, 
Spread its fair emblems from mountain to shore, 
While through the sounding sky 
Loud rings the Nation's cry, — 
Union and Liberty ! One everm5re ! 

O. W. Holmes. 



CALISTHE^flCS. 



CALISTHE^s^lCS, from the two Greek words kalos, sig- 
nifying 'beautiful^ and sthexos, strength, is the name 
applied in this work to an extended course of exercises, jper- 
formed vnthoid the aid of technical apparatus^ which is 
designed to further the proportionate development of the 
body ; render the joints more flexible in all directions ; give 
the pleasing and graceful appearance of firmness, steadiness, 
and dexterity in the positions and in the use of the limbs ; 
and secure physical beauty, muscular strength, and robust 
health. 

mSTRUCTIOlSr OF assista]st:s. 

Ixn" Calisthenics, as in all other things taught, every prin- 
cipal is responsible for the instruction of his school. He 
should assemble his assistants or monitors together for theo- 
retical and practical instruction as often as he may judge 
necessary. When he is unable to attend to this duty in per- 
son, it may be discharged by the vice-principal, or an in- 
structor specially appointed for the purpose. 

"When instruction is given to assistants, or a number of 
teachers, they should be required to explain the positions 
and movements of the different classes of exercise, and to 
put them into practical operation. Each command in a les- 
son, at the theoretical instruction, should be given by the 
principal, and then repeated in succession by his assistants, 



120 



CALISTHENICS. 



SO that while they become habituated to the commands, uni- 
formity may be established in the manner of giving them. 

COMMAISTDS. 

THERE are three kinds : the command of caution^ or at- 
tention ; the i^rejparatory command^ which indicates 
the position that is to be taken, or the class of movements 
that is to be executed; and the command oi execution^ or 
the part of the command which causes aii execution. 

The tone of command should be animated, distinct, and of 
a loudness proportioned to the size of the room and the 
number of students under instruction. 

The commands of caution and the preparatory commands 
are herein distinguished by italics ; those of execution, by 
CAPITALS. The preparatory commands are given distinctly, 
with an ascending progression in the tone of command, but 
always in such a manner that the tone of execution may be 
more energetic and elevated. The divisions are indicated 
by a dash. The parts of commands which are placed in a 
parenthesis are not pronounced. Commands in music, on 
])age 147. 

POSITIOlSr OF THE STUDENT. 

THE position of the student, when not otherwise directed, 
will always be the military ox f undamental position^ 
as shown in the accompanying figures. At the command, 
Attention, or Position, 

1. Heels toop:thek. The heels are placed on the same 
line, as near each other as the conformation of the student 
will permit. 

2. Feet outwakd. The feet are turned out equally, form- 
ing with each other something less than a right angle. 

3. Knees joined. The knees are joined and kept straight, 
without stiffness. 



POSITION OF THE STUDENT. 



121 



4. Body eeect. The body is erect on the hips, inclining 
a little forward. 

5. Shotildees back. Both shoulders form a straight line, 
at right angles with the neck and head, and fall equally. 

6. Arms dowx. The arms hang naturally. 

7. Elbows ix. The elbows are held near the body, but 
not hugged to the sides. 

8. Hands outward. The palms of the hands are turned 
a little to the front, and the little fingers touch the outsides 
of the thigh. 




Fig. 5. * Fig. 6. 



9. Head ep. The head is held erect and square to the 
front, without constraint. 

10. Eyes front. Tlie eyes are fixed on some object in 
front of the body, about twenty feet forward on the ground, 
when not directed to the instructor. 

11. MoETH SHUT. The hreathing should in all cases he 
carried on through the nose. 

CoMMENciNa POSITION. The position in which the body 
is when about to execute a certain movement, or class 
of movements, is called the commencing position of that 

6 



122 



CALISTHENICS. 



movement. This position may therefore vary almost infi- 
nitely. 

Positions taken. The positions commanded to be taken 
refer always to that part of the body last mentioned as un- 
der command ; and when taken, they must be kept until 
others are commanded. When two, three, or more parts 
of the body are included in the command, their position 
should be taken together. 

TIME AND EHYTHMUS. 

IN order that Calisthenics may produce the most desirable 
effects on the mental and spiritual nature of man, as 
well as on his physical, it is not only necessary that the 
movements have a determined form and order of execution, 
but that they have a determined thne, the rhythmus or 
division of which is w^ell established in the mind. 

The measure of time must also be viewed in a special way, 
as far as it regards Calisthenics. If we see a whole series of 
movements, either one exercise repeatedly executed accord- 
ing to a certain law, or different exercises following each 
other according to a similar law, then we have the rhyth- 
mus ; the movements become rhythmical, and the various 
motions appear as parts of a certain measure of time. Mili- 
tary marching may serve as an instance : it consists of one 
principal movement, the repeatedly executed pace, which, 
being alternately done by both feet, appears as a double 
movement, which in its repetitions produces the movement 
of walking ; and this, if the same time is observed for botli 
feet and for the repetitions, becomes a rhythmical walking 
or marching. Each pace is a part of a measure which fin- 
ishes with the setting down of the advanced foot. 

The special rhythmical relations of w^alking and march- 
ing, as well as in general of all the advancing foot move- 
ments, are made sensible either by directing our attention 
principally to one foot while the other is comparatively 



TIME AND RHYTHM US. 



123 



disregarded, and thereby to our imagination the steps of the 
first foot appear the heavier and stronger ; or tlie rhythinus 
may be observ^ed by marking more prominently the steps 
of one of the feet, or in general certain steps, which are, so 
to speak, somewhat more accentuated, either by a really moi-e 
vigorous tread, or by resting longer with one foot on the 
ground, or by executing at certain steps corresponding move- 
ments of other limbs (clapping together of the hands, for 
instance, inclination of the upper part of the body, etc.) : in 
this way originate rhythmical forms of time, which show 
themselves as determined metrical articulations. 

As each simple movement involves a certain measure of 
time, so the compound movements, and those which follovv' 
each other, must be executed in a certain measure of time or 
in so many single consecutive measures. It is an indispens- 
able quality of the rational instructor to divide each class 
of movements into its constituent motions or elements, and 
to mark them during their performance by counting. In 
this way the student becomes conscious of the form "and 
signification of each class of movements, and the exercises 
become conscious actions. This is also a reason why Calis- 
thenics are not only a means for the development of tlie 
body, but also for that of the mental and spiritual man. 
The mind is taught to govern the body, and every articula- 
tion and limb is habituated to a prompt and ready obedience 
to the will. 

Calisthenic exercises have their greatest value when done 
by many together, and under the direction of an experienced 
instructor. Then an orderly and exact execution of the 
movements is only rendered possible by a perfect rhythmus, 
which is made evident to tlie eye or ear of each member 
of the class. As a majority of English songs, and nearly 
all marches, dances, and other pieces of music that are em- 
ployed to secure simultaneous movements, are in eights, the 
rhythmus should be octosyllabic. The most usef ul mode of 
securing concert is by employing the voice ; the most pleas- 
ing, instrumental music. 



124 



CALISTHENICS. 



YOCAL EXEECISES WITH CALISTHENICS. 

BE the instrumental music never so good, the instructor 
should always conduct a j)ortion of the movements to 
vocal exercises. 

1. Counting. Let the members of the class count contin- 
uously in concert, from one to eight inclusive, at an average 
rate of ninety in a minute, which rate may be most readily 
determined by the use of a metronome. The instructor 
gives the words of command, and the students take the 
required positions and execute all the movements in exact 
time as marked by the counting. For Tarieties, see ]S"o 28, 
page 143. 

2. Phonetics. When phonetics are employed, all the 
members of the division will produce the tonics consecutive- 
ly, as arranged in the Table of Oral Elements, p. 20, uttering 
each one eight times, or adopt some other variety of xs^o. 29, 
page 144. Combinations formed by prefixing and affixing 
subtonics and atonies to the tonics will be employed in like 
manner. 

3. Recitations and Songs. Spirited recitations in octo- 
syllabic verse — narrative, descriptive, and lyric ; national 
odes, and battle-pieces, should frequently be used with Calis- 
thenics to mark the time. Appropriate selections are given 
in this work. Let the pieces be so recited that the poetry 
may address itself to the heart ; that the tones of the voice 
may be more akin to music than ordinary speech ; that the 
prosody may be carefully observed, giving every line its 
proper part in the melody, witliout spoiling the sense by a 
sing-song cadence. Yocal music should also be employed in 
this connection. 

MUSIC WITH calisthe:xics. 

I]N^ order to awaken a lively and abiding interest in calis- 
thenic and gymnastic exercises, and to secure an enthu- 
siasm and a fascination that shall convert indolence and 



FORMATION OF THE CLASS. 



125 



sluggislmess into cheerful and vigorous activity, it will be 
found absolutelj necessary to employ instrumental music. 

The best music for this purpose is furnished by a brass 
band ; and is specially appropriate for public inspection or 
exhibition. There are many single instruments that are easily 
obtained. A drum, a tambourine, a triangle, or even a 
common plow-clevis, while less pleasing than some other 
instruments, secures most perfect concert. The flute, the 
guitar, and the violin are excellent ; but the piano, ail things 
considered, is preferable. Appropriate music, specially ar- 
ranged for the last-named instrument, is introduced in the 
body of this work. For commands, and further explanations, 
see p. 147. 

FOKMATIO^s" OF THE CLASS. 



TO execute the classes of movements well from the differ- 
ent positions, the students must be placed in a definite 
order, and this is called the formation of the class. The 




Fig. 7. 

formation depends on the kind of exercise, and also \hQjplace 
of exercise. When the space permits, all the students are to 
be placed abreast. 

AVhen the students have assembled, or the hour for the 
exercise has arrived, the order is, Class — Fall in; on which 



126 



CALISTHENICS. 



the students place themselves in front of the instructor ac- 
cording to their height, beside each other in one rank, so 
near as to slightly touch each other with their elbows, and 
yet leaving room enough for their arms to swing. The tallest 
student stands at the left of the instructor, and the shortest 
at his right. In most exercises each student must have suffi- 
cient space to move his limbs in all directions without being 
hindered ; for this purpose the open formation is chosen, 
which is made from the close formation at the order. Take 
your Distance — -March ! 

At the announcing order, each student, except the last, 
lays his left hand on his left neighbor's right shoulder ; and 
at the command, March ! the student at the instructor's 
right remains in his place, while every other one moves 
away from his neighbor at his left, until his own left arm 
and hand are freely stretched out, so that the points of his 
fingers only touch his neighbor's right shoulder, as in Fig. 7. 

At the command. Position ! the stretched arms are simul- 
taneously placed down by the side, and the students take 
the fundamental or military j^osition. 

If the room will not admit of one expanded line, two or 
three may be formed in like manner ; however, at the least, 
from four to five feet apart from each other. The first 
student in the second line at the instructor's right will be 
the next taller than the last student of the front line at the 
instructor's left. When facing toward the instructor, the 
students of the back lines will cover square — that is, stand 
exactly behind the ones in front. 

For some movements, the open formation just described 
does not give a sufficient distance. In such cases, at the 
order, Tahe a double distance — March! wider distance is 
taken, by each student placing himself so far from his neigh- 
bors, that he can with his stretched arms and fingers touch 
the tijDS of the fingers of the stretched arms of his neighbors. 
This formation, however, requires a greater longitudinal 
space, and makes it more difficult, if there is a great number 
of students, to overlook them. 



FORMATION OF THE CLASS. 



127 



In such cases, when the students are in the position illus- 
trated by Fig. 7, the instructor will first command : In line 
[or each line) — Count Twos ; and the students count from 
right to left, commencing with the shortest one in the rank 
nearest the instructor, pronouncing distinctly, in the same 
tone, without hurry and without turning the head, one^ two j 
one, two, tfec, according to the place each one occupies. 




Fig. 8. 



^N^ow follows the command, Twos, one pace forward — 
March ! on which the ones retain their places, and the twos 
take a step forward of about thirty inches, and join heels, as 
seen in Fig. 8. In this formation, longitudinal space is 
saved, and supervision made easy. The distances that now 
result must be strictly retained, as they are the most con- 
venient to enable each student to take all the positions of 
the body, without inconvenience to his neighbors. 

As soon as the necessary formation is executed, each in- 
dividual must assume the fundamental or military position. 
From this position all others proceed, and also many of the 
movements. If, at the order of the instructor, any other 
commencing position has been assumed, and we wish that 
the fundamental position shall be taken, it is done at the 
command, Attention ! or, Position ! 



128 



CALISTHENICS. 



mSTRUCTlOJN^ OF THE CLASS. 

1]^ class drill, or in a small school where but one teacher 
is employed, the object being the instruction and im- 
provement of the students, the instructor never requires a 
position to be taken, or a movement to be executed, until he 
has given an exact explanation of it ; and he executes, him- 
self, the movement which he commands, so as to join example 
to precept. He accustoms the students to take, by them- 
selves, the exact position which is explained ; and sees that 
all the movements are performed without precipitation. 

Each movement should be understood before passing to 
another. After the movements have been properly executed 
in the order laid down in a general division, the instructor 
no longer confines himself to that order; but, on the con- 
trary, he should vary the exercises frequently, that he may 
elicit thought, judge of the intelligence of the students, and 
call into action, alternately, various sets of muscles. 

The instructor allows the students to rest at the end of 
each part of the lessons, and oftener, if he thinks proper, 
especially at the commencement ; for this purpose he com- 
mands — Rest. 

At this command, the student is no longer required to 
preserve immobility. He may change his position, but 
may not leave the ranks. If the instructor wishes merely 
to relieve the attention of the student, he commands. Right 
foot in place — Rest ; the student is then not required 
to preserve his immobility, but he always keeps the foot 
named in the preparatory command on the line, and carries 
the other foot six inches to the rear, slightly bending the 
advanced knee, and lets the weight of the body fall mainly 
on the foot in the rear. 

When the instructor wishes to commence the instruction,, 
he commands, Attention — Class ; when the students take 
their position, remain motionless, and fix their attention. 

During the initial exercises, and until the student has 
acquired the ability to execute readily the classes of move- 



INSTRUCTION OF THE SCHOOL. 



129 



ments of the positions under consideration at the time, all 
the students will count as described on pp. 124 and 143. 

At the commencement, slow movements should be prac- 
ticed, then quicker ones ; afterward the command for rapid 
and slow movements should be given so as to take the pupil 
by surprise, and the same with regard to one member only, 
or several together. 

Exercises should always be commenced as well as finished 
gently. This is especially important for beginners, as they 
are sometimes injured, and their progress retarded, by too 
severe efforts at first. 

The instructor will remember, that the organs or parts are 
to be developed and strengthened by moderate and prolonged 
exertions, rather than by violent and fitful ones. The weaker 
organs or limbs should always receive more attention, and be 
more frequently subjected to exercises specially adapted to 
their invigoration. 

All violent exertions should be made when the stomach is 
empty, or nearly so. The best times for the more active 
calisthenic exercises are early in the morning, and toward 
evening; when practiced at school, the best times are the 
middle of the forenoon, and toward the close of the after- 
noon session. They should not be practiced immediately 
after meals, nor very near the time for eating, as digestion is 
never well performed when the system is in an agitated or 
exhausted condition. 

mSTKUCTIOE^ OF THE SCHOOL. 

THE harmony so indispensable in the movements of the 
several classes of a large school, or of two or more 
schools, can only be attained by the use of the same com- 
mands, the same principles, and the same mode of execution. 
Hence, in order to render general exercises most interesting, 
effective, and useful, all instructors will conform themselves, 
without addition or curtailment, to what will herein be pre- 
scribed, until a perfect mastery is secured. 



130 



CALISTHENICS. 



The movements, as described from the different positions 
named in this work, are intended for separate classes, or 
schools where there is sufficient space for students to stand 
in lines far enough apart to prevent their hands or feet 
coming in contact. The intelligent instructor will not find 
it difficult, however, to make such modifications and omis- 
sions as will enable him to conduct exercises successfully 
when the students are seated, or when thej are standing in 
a compact body. 

In the chapel, or other room for school drill, the students 
will have seats assigned solely with reference to their height : 
those that are shortest will be seated nearest the principal's 
platform. 

The exercises of each lesson will be executed several times 
in the order in which they are arranged, and the lessons will 
be introduced consecutively ; but as soon as the school shall 
be confirmed in the principles of Calisthenics, and taught 
to perform all the exercises with the utmost precision, the 
order of the positions, of the movements, and of the general 
divisions, may be varied. 

During a puhlic inspection or exhibition, the instructor 
will employ only the commands necessary to vary the usual 
order of exercises. An occasional departure from this rule 
may be advisable, to impart greater animation. He will not 
execute, himself, the movements he commands ; but he may 
indicate by gesture both the nature and tlie direction of the 
movements. To insure promptitude and perfect uniformity, 
an assistant, or an intelligent student, occupying a position 
in front, may execute the movements simultaneously with 
the school. 

CALISTHElSriC HALL. 

THE fioor of a calisthenic hall should be streaked or 
inlaid, as shown in Fig. 9. The lines must be about 
thirty inches apart, both lengthwise and crosswise of the 
room. Each intersection forms a standing. Many classes 



CALISTHENIC HALL. 



131 



of exercise may be executed when all the standings are 
occupied ; but in that event it will be found necessary to 
make some modifications and omissions. 

The preferable mode is, after the instructor has sized the 
ranks, to form the whole school into two equal divisions — 




Fig. 9. 



all the odd lines, from side to side, constituting the first divi- 
sion ; and the even lines, the second. Then one division will 
rest while the other is under drill ; or they will occupy the hall 
on alternate days, or during different hours of the same day. 

The formation of the division under drill will be as follows: 
At the command. First {or second) division — Fall in, every 



132 



CALISTHENICS. 



member of the division (knowing liis own relative height, 
rank, and position) will at once take his standing. The 
shortest student in the division will occupy the first standing 
at the teacher's right, in the front rank ; and the tallest one, 
the last standing at the teacher's left, in the rank furthest 
back. The ranks will occupy every second line, commencing 
with the second one front. 

As soon as this formation is secured, the instructor com- 
mands, In every rank — Count Twos ; and the students count 
tiDos, as directed on page 127. At the command, Tioos, one 
standing forward — March, the twos step forward (Jeft foot 
first) and occupy the standings immediately in front, thus 
completing the formation as represented by the feet in Fig. 9. 

At the conclusion of the exercise, or preparatory to march- 
ing, the instructor commands, Twos, one standing backward 
— March ; and the twos step backward {left foot first) and 
occupy their original standings in the ranks. 

The temperature of a calistlienic hall should be kept at 
from 63 to 70 degrees; but during the continuance of the 
exercises the windows should be opened, so that the room 
may be thoroughly ventilated. All lieavy and unnecessary 
clothing should be removed. At the close of the exercise, 
Avhen the quick movements and changing evolutions of the 
limbs and the joints have increased the animal heat and 
produced a sensible perspiration, the windows must be closed, 
and all draughts of air avoided. A perfect ventilation, how- 
ever, must be secured at all times. 

COSTUME. 

TIS" arranging a costume^ for calisthenic and gymnastic 
exercises, we must take into account what may be re- 
garded as the elementary requisites of all dress : that it be 



' Costume. — The author, in the paper in the Atlantic Monthly, en- 
preparation of this article, has incor- t\i\edi Daily Beauty. A perusal of that 
porated valuable ideas from an able paper is earnestly recommended. 



COSTUME. 



133 



comfortable and decent, convenient and suitable, beautiful 
in form and color, simple, genuine, harmonious with is"ature 
and itself. 

The first two requisites of dress are easily attained; for 
only a sufiiciency of suitable covering is necessary to them. 
Dress, however, should not only secure these points, but 
seem to secure them ; for, as to others than the wearer, what 
is the diflPerence between sweltering and seeming to swelter, 
shivering and seeming to shiver ? 




Ym. 10. Fig. 11. 



Convenience, which is to be distinguished from mere bodily 
comfort, is the next essential of becoming dress. A man 
should not wear a Spanish cloak while using a flail or a pair 
of Indian clubs ; a woman should not make butter in large 
hanging-sleeves, nor walk on muddy roads in long, trailing 
skirts, l^o beauty of form or splendor of material in cos- 



131 



CALISTHENICS. 



tume can compensate for manifest inconvenience to the 
wearer. 'No dress is sanctioned by good taste which does 
not permit, and seem to permit, the easy pei-formance of any 
movement proper to the wearer's age and condition in life; 
for it defies the very first law of the mixed 3irts— fitness. 

Form is the most important element of the absolute beauty 
of dress, as it is of all arts that appeal to the eye. The lines 
of costume should, in every part, conform to those of nature, 
or be in harmony with them. In color, another important 
element of beauty, no fine effects of costume are to be at- 
tained without broad masses of pure and positive tints. The 
various tints of brown may be employed with fine effect in 
composing a costume; but the best hues for a calisthenic 
dress are blue, gray, red, green, purple, and scarlet. 

The illustrations here introduced give a correct idea of the 
style of the costume best adapted to calisthenic and gymnas- 
tic exercises. Indeed, all the elementary requisites of dress 
are here combined, rendering its adaptation perfect to every 
purpose for which a costume is intended. 

In Fig. 11, the drapery is not, as is too frequently the case, 
deformed and hateful ; for its lines conform to those of the 
parts of the person which it conceals. With what cornj)lete- 
ness, ease, and comfort it clothes the entire figure of the 
wearer ! There is not a line about it which indicates com- 
pression, or one expressive of heedless laxity. Both limbs 
and trunk are amply draped ; and yet how plainly it is seen 
that the wearer is well developed and untortured. The waist, 
girdled in at the proper place, is of its natural size. How 
expressive the figure is of health, and grace, and bounteous 
fullness of life ! 

The dress opens in front, and is both more convenient 
and more beautiful than one which opens behind. It is so 
constructed that the wearer's limbs are as free as air ; that 
she can even clap her hands, with arms vertical, above her 
head without the slightest discomfort. The gown is short, 
and the skirt is full, reaching only to about the middle of the 
calf of the leg ; and therefore, though worn without hoops. 



GENERAL DIVISIONS. 



135 



it does not fall closely around the figure. The trowsers, 
which are also full, are gathered in at the ankle by a plain 
band, which has a small ruffle at the lower edge. The 
trimming, in moderate quantity, is put on the principal 
seams and the edges. The material, at all seasons of the 
year, both for male and female, should be flannel. 

It will be observed that the gentleman's dress (Fig. 10) is 
loose and comfortable. The primary object of the costume 
is not to exhibit rounded and shapely limbs and well-devel- 
oped muscles, but to give ease and comfort to the student in 
all of his positions and movements. The military jacket, 
without unnecessary padding, is selected. It has no useless 
skirt, and the collar is neither high nor stiff. The trowsers, 
which are very loose, are gathered in and buttoned at the 
ankle, or fastened with an elastic band or a small strap. 

Students may exercise in their street dresses. The gentle- 
men will remove their coats. The ladies will use elastic 
bands to sustain their skirts, so that the wearer's legs and 
feet mr ; have free play. Bathing dresses will very generally 
be found pretty and appropriate for these exercises. 

GEIS^EKAL DIYISloyS. 

^r^HE general divisions of Calisthenics embrace Chest, 
J- Shouldek, Elbow, Arm and Hand, Head and j^eck. 
Trunk and Waist, Knee, Leg and Foot, and Combined 
Exercises. 

It will be remembered that the execution of the following 
exercises is done by all the students simultaneously and 
equally, so that each position is taken and each motion is 
begun by all at the same moment, and each class of move- 
ments is executed in the same time, which is to be marked 
as described p. 121. 

In executing the movements, the right side will have 
precedence of the left; the front of the rear. Movements 
to the sides will always precede correspondent ones to the 
front and rear. 



136 



CALISTHENICS. 



L 

CHEST EXERCISER 

FIRST SERIES. 

First Position. 

No. 1. — Immediately after the formation of the class, as is pre- 
scribed ou p. 125, the instructor commands: 1. Attention — Class; 
2. Chest Exercise ; 3. First Series; 4. First — Position. 

No. 2. — On hearing the first word of the first command, the 
students fix their attention ; at the second, they always take the 
habitual or military position, p. 120, which brmgs the ear, shoulder, 
hip, knee, and ankle into line, as seen in Fig. 12. 

No. 3. — When the fourth command is given, the students will 
take the first i^osition, as represented by Fig. 13. The fists are 
placed together upon the breast, with their backs front, and the 
elbows are elevated as high as the shoulders. 

No. 4. — First Movements — Right. At this command, the stu- 
dents, marking time by counting,- or otherMse, as prescribed p. 124, 
will describe the arc a b, and recover the commencing position four 
times. The outward motions are the accented or more forcible ones. 
On the fourth outward motion the instructor wiLl command, Left, 
when the students, as soon as they recover the commencing position, 
describe the arc c d four times. On the foui'th outward motion with 
the left hand, the instructor commands. Alternate, when the stu- 
dents, after recovering the commencing position, describe the arcs a b 
and c D alternately four times (twice to each arc), commencing with 

^ Chest Exercise. — As the first cation is thus secured, the first gen- 

tliree classes of movements are made eral division is called Chest Exercise; 

from and terminate with the chest, though, in a strict classification, it 

and all the movements from the would be termed Elbow Exercise. 

/(?f/r positions of this general division ^ Music, Phoxetics, and other 

bring into play the chest-muscles, Vocal Exercises to accompany the 

and as a more convenient classifi- Movements, pp. 1-42 to 153 



CHEST EXERCISE. 



137 



the arc a b. At the command, Both, the arcs will be described 
four times simultaneously. It will be seen that these arcs are so 
described that, at their terminations b and d, the backs of the fists 
are to the rear. 

No. 5. — Second Movements^ — Right. The remaining commands 
of this class of movements, and the number and order of the move- 
ments, are the same as in No. 4 ; but the motions are made from the 
first position directly out at the sides and behind, as far as possible, 
the arcs described being horizontal. 



A,.---- c 




Fig. 1^. EiG. 13. 



No. 6. — Thii^d 3Iovements — Right. The motions of this class 
are made up and off at an angle of 45 degrees from the first position. 
The number and order of the movements are the same as in No. 4. 
On reaching the points e and f, the arms will be straight, and the 
backs of the fists to the rear. 



^ Second Movements.— The great stretching the collar-bone and flatten- 
point in this class of movements is to ing the shoulder-blades. This gives 
hold the arms perpendicular to the room to the lungs in front, enlarges 
body, and throw them backward as the chest, and tends to cure round 
far and as violently as possible, thus shoulders. 



138 



CALISTHENICS. 



Second Position. 

No. 7. —The instructor commands, Second — Position • and the 
students instantly, at the second word of command, place their elbows 
by their sides, in line with the waist, and their fists against their 
shoulders, backs front, as represented hi Fig. 14. 

C '\ ) '( ] D 



•,.D 




i'lG. 14. Fig. 15, 



No. 8. — First Movements — Right. At this command, the right 
forearm is carried directly down, as at a, Fig. 14, and returned to 
the commencing position four times ; when, at the command, Left, 
four corresponding motions are made with the left forearm, termi- 
nating at B ; then, at the command, Alternate, four downward 
motions are made alternately ; and finally, at the command. Both, 
four downward motions are described with both forearms simul- 
taneously. 

No. 9. — Second Movements — Right. The remaining commands, 
and the number and order of the movements, are the same as in 
No. 8 ; but the motions are made directly front, by straightening the 
arms and recovering the commencing position. 



CHEST EXERCISE. 



139 



No. 10. — Third Movements — Right. The number and order of 
these movements are the same as in No. 8. The movements are 
executed by thrusting the arms directly up as high as possible to 
the points c and d, Fig. 14. 



Third Position. 

No. 11. — At the command, Third — Position, the students take 
the position of Eig. 15, in which the forearms are placed against the 
waist, with the backs of the fists out to the sides. 

No. 12. — There are three classes of movements from the third 
position : the first of which is described in the direction a b. Fig. 15 ; 
the second, in the direction a c ; and the third, in the direction a d. 
The commands, and the number and order of the motions, are the 
same as those of the Second Position, p. 138. 



Fonrth Position. 



No. 13. — At the command. Fourth — 
Position, the students place their fists 
back of and against their hips, with the 
backs of the hands out, the thumbs closed 
in front, and the elbows pressed down 
and toward each other, as represented in 
Fig. 16. 

No. 14. — The first class of movements 
from this position is executed in the direc- 
tion A B ; the second, in the direction a c ; 
and the third, by describing the arc e d. 
In executing the thu^d class of movements, 
the body will maintain a position as nearly 
vertical as possible. The outward or up- 
ward motions, which are produced with 
great vigor, terminate only when the fists 
are as high as, and in fine with, the shoul- 
ders at the point d. The commands, and 
the number and order of the motions, are 
the same as those of the Second Posi- 
tion, p. 138. 




Fig. 16. 



140 



CALISTHENICS. 



SECOND SERIES. 
First Position. 



No. 15. — The instructor will command: 1. Chest Exercise; 
2. Second Series; 3. First — Position. 

No. 16. — At the third com- 
mand, the students will take the ^ v -'. ° 
first position, as represented in 
Fig. 17. The backs of the fists 
are placed upon the bi^east, and 
the elbows are elevated as high 
as possible, preparatory to the 
movements. 

No. 17. — The commands, the 
positions, the classes of move- 
ments, and the order, direction, 
and number of motions, are the 
same in the Second Series of 
Chest Exercises as in the Fii^st, 
with only the difference that the 
backs of the fists are always 
within, thus reversing the action 
of all the muscles. 

The positions of the backs of 
the hands, in all stages of execution of the movements of the First 
Series, must be remrsed in the Second. 




Fig. 17. 



THIRD SERIES. 

First Position. 

No. 18. — The instructor commands: 1. Chest Exercise; 2. 
Third Series; 3. Positions of First (ov Second) Series; 4 First 
— Position. 

No. 19. — The positions of the Third Series are the same as 
those of the First Series, or of the Second, in accordance with the 
part announced of the third preparatory command of No. 18. The 



CHEST EXERCISE. 



141 



students will take all of the positions in regular order, and execute 
a class of movements from each in combination, as follows : At the 
command, Right, the right member describes the first motion of the 
first class of movements, and recovers the commencing position ; the 
first of the second ; the first of the third ; and, again, the first of 
the second. At the command. Left, the left member executes the 
same number of corresponding motions ; and, finally, at the command, 
Both, both members execute these motions simultaneously, and im- 
mediately repeat their execution. For example, the class of com- 
bined movements from the first position of Chest Exercise, Fig. 13, 
will be executed as follows : First, the right arm describes the arc 
A B, and recovers the commencing position ; then it makes a motion 
directly back in line with the shoulder, and recovers the commencing 
position ; then it is thrown up, like the dotted arm, e, and brought 
back to the commencing position ; and, finally, the horizontal motion 
is repeated. The same number of corresponding motions is then 
made with the left arm. In conclusion, both arms execute these 
motions simultaneously, and immediately repeat their execution. 

^ FOURTH SERIES.' 

First Position. 

No. 20. — The instructor commands: 1. Chest Exercise; 2. 
Fou7^th Series; 3. First — Position. 

No. 21. — At the last command, the students take the first posi- 
tion, fists at A and b, as represented in Fig. 18. 

No. 22. — First Movements — Right. At the command, Right, 
the students commence inhaling air ; and on one (the instructor, or 
an assistant, does the counting, or otherwise marks the time), they 
simultaneously strike the right lung smartly, near the lower ribs, with 
the right fist ; on two, the hand recovers its commencing position at 
A ; on three, the fist is struck against the lung immediately above the 



* Fourth Series. — The exercises of abdominal and dorsal region which 

this series tend to expand the lungs are concerned in respiration. They 

and increase the flexibility of all the are among the best preventives of 

muscles of the chest, and those of the consumption. 



142 



CALISTHENICS. 



previous place : and so the ri^ : " f advances npward nntil, on seven, 
the right lang is struck jiir, ; v the chivicle, or collar-bone, when 
the command. Left, is given, and the left lung is struck four times 
in hke manner with the left fist. At the command, Alterxate. the 
lungs are struck alteraately four times, when the instructor com- 
mands, Both, and the lungs are struck simultaneously, with both 
fists, four times. 

No. 23. — Second Move- ,%p 
ments — Keciprocate. At this ~? 
command, from the first posi- 
tion of Fig. 18, the student, 
on one, strikes the left lung 
near the lower ribs with the - 
right fist ; on two, the right - 
fist recovers the commencing 
position, and the left one gives 
a corresponding blow to the 
right lung ; on three, the left 
fist recovers its commencing 
position, and the right one 
strikes the left lung just abov ^ 
the previous place. Thtr^e re- 
ciprocating motions continue 
until, on eight, the left fist 
strikes the right lung just be- 
low the collar-bone, when the 

direction of the beating is reversed, and termhiates with the lower 
ribs on the second eight. An immediate repetition of this beating 
up and down the chest completes the second class of movements 
from the first position. These movements should be executed with 
great rapidity. 

No. 24. — During the execution of these movements, tlie students 
will take deep insiDirations, retaining the au' in the lungs, when fully 
inflated, as long as possible, and then let the breath go out steadily 
and slowly, not permittnig the au*. however, to become completely 
exhausted at any time. Both the inspiration and expiration are 
done through the nose, the mouth remaining closed. The lungs are 
beaten smartly from the lower ril3s up to the collar-bone ; but the 
middle of the chest is not struck. 




VOCAL EXERCISES. 



143 



Second Position. 

No. 25. — At the command, Second — Position, the students 
stretch the arms out sidewise as high as the shoulders, with the fists 
at c and d, Fig. 18. The remaining commands, and the classes of 
movements from this position, are the same as those of the first 
position. 

Third Position. 

No. 26. — Third — Position. At this command, the arms will 
be so elevated as to place the fists at e and f, Fig. 18. The com- 
mands and the classes of movements are the same as those given from 
the first position ; but the direction of the beating is reversed, com- 
mencing with the collar-bone. 

No. 27. — The instructor will frequently require the class in re- 
view to take the positions and execute the movements of an entire 
series of exercises without words of command. In that event, on 
the last accented motion of each class of movements, the students 
ivill take the position next in order, instead of resuming the .com- 
mencing position. 

VOCAL EXEECISES. 
Varieties. 

combining vocal exercises with Calisthenics, as is pre- 
scribed on p. 124, the instructor will employ only such 
varieties as are best adapted to the exercises under consider- 
ation at the time. A great variety is here introduced, for 
convenient reference. 

I. Counting. 

No. 28.— The figures employed for indices show the number of 
motions that are made before one of the four general changes of a class 
of movements occurs. The motions from given positions are indicated 
by odd numbers, and those to recover commencing positions by even 
ones. The heavy or accented syllables are indicated by accented 
vowels. They are prolonged or dwelt upon twice as long as light or 
7^' 



144 



CALISTHENICS. 



unaccented syllables. The students count continuously from one to 
eight, inclusive, naming each number once, twice, or three times. To 
afford a greater variety, the class will occasionally sing the numbers, 
letting the voice rise and fall in regular progression, as in singing the 
musical scale. 

12 3 4567 8 

1st. one, two, three, four, five, six, seven, eight ; &c. 

1 2 3 4 5 6 

2d. one one, two two, three three, four four, five five, six six, 
7 8 ^^1^ ^^2^ 3 

seven seven, eight eight ; one one, two two, three three, &c. 

1 2 ^3^ 

3d, one one, two two, three three, four four, five five, &c. 

12 3 4 



4th. one one one, two two two, three three three, four four four, 
5 6 7 8 - 



five five five, six six six, seven seven seven, eight eight eight ; &c. 
1 2 3 



5th. one one one, two two two, three three three, &c. 
12 3 



6th. one one one, two two two, three three three, &c. 

II. Phonetics. 

No. 29. — The indices and the marl^s of accent are employed for 
the same purpose as in No. 28. The combinations of the tonics with 
the subtonics and the atonies are given on pp. 24, 25, and 26. The 
students will commence with the first oral element of a, and give the 
tonics consecutively as arranged in the Table of Oral Elements, p. 20, 
uttering each one the number of times indicated in the following 
exercises. The tonics will also be uttered consecutively in combina- 
tion^ as illustrated by the eighth variety of this section. 

1234 5 6 78 12345678 
1st. a', k\ r, a', ar', af, e', e'; er^ i', i', 6^ 5^ 6', u^, u^; cfcc. 



VOCAL EXERCISES. 145 

13345 678 1 

2d. a' a, a^ a, a' a, a' a, ar' ar, af af, e, e' e ; er' er, &c. 

1 ^3 4^ 6 ^1^ 

3cl. a k\ a a', a h\ a a^, ar ar', af af, e e', e e'; er er', &c. 

1 2 3 4 5 6 

4tli. a' a a, a' a a, a/ a a, a' a a, ar' ar ar, af af af, &c. 

1 2 3 4 5 6 

5th. a a' a, a a' a, a a' a, a a' a, ar ar' ar, af af af, &c. 

1 2 3 4 5 6 

6th. a a a', a a a', a a a', a a a', ar ar ar', af af af , &g. 
12345678 12345678 

^ , 1 1/ 1/ 1/ 1/ 1/ 1/ 1/ 1/ 2/ 2/ 2/ 2/ 2/ 2/ 2/ 2/ n 

7th. a , a , a , a , a , a , a , a ; a , a , a , a , a , a , a , a ; &c. 

12345678 
8th. brach, brach, brach, brach, brach, brach, brach, brach; 

1 2 34 5 6 7 8 

brar, brar, braf, braf, brech, brech, brech, brech ; 

1 2 3 4 5 6 

brer, brer, brich, brich, brich, brlch, &c. 

III. Recitations. 

No. 30. — Marks of accent and indices are employed for the same 
purpose as in No. 28. For remarks on recitations and songs in con- 
nection with Calisthenics, see p. 124. 

1 2 3 4 

1st. Charging, then the coursers springing — 
5 6 7 8 

Sword and helmet clashing, ringing. 

1 1_ ^ 

2d. He tugged, he shook, till down it came — 
5 6 7 8 



The roof, the dome, one sheet of flame 



146 



CALISTHENICS. 



1 2 3 4 

3d. Hail to the chief who in triumph ad vances ; 
5 6 7 8 



Honored and blest be the evergreen pine 
12 3 4 



4th, The book is completed, our labor is ended, 
5 6 7 8 

And envy defeated, while love is defended. 



5th. May I gov ern my pas sions with ab solute sway ; 
5 6 7 8 



And grow wis er and bet ter as life wears away. 

lY. YocAL Music. 

No. 31. — The same varieties of measui'e and accent will be em- 
ployed in singing songs as in recitation, see No. 80. The simplest 
form of combining vocal music and Calisthenics is by employing 
either the tonics, or the syllables of the gamut as follows : 

123456 7 8 1 2 345678 
1st. do, re, mi, fa, sol, la, si, do ; do, si, la, sol, fa, mi, re, do. 

1 ^2^ 3 4 5 6 7 8 1 
2d. do do, re re, mi mi, fa fa. sol sol, la la, si si, do do ] do do, &c. 

,Jl. ^ _L ^ ^ 

3d. do do, re re, mi mi, fa fa, sol sol, la la, si si, do do ; do do, &c. 

1 2 3 4 5 6 

4th. do do do, re re re, mi mi mi, fa fa fa, sol sol sol, la la la, kc. 

1 2 3 4 5 6 



5th. do do do, re re re, mi mi mi, fa fa fa, sol sol sol, la la la, &c. 

1 2 3 4 5 6 

6th. do do do, re re re, mi mi mi, fa fa fa, sol sol sol, la la la, &c. 



GENERAL COMMANDS. 



147 



Iiq"STKUME^>rTAL MUSIC. 

THE music here introduced is specially arranged for tliis 
work from tlie choicest productions of the ablest mas- 
ters. It affords a sufficient variety for the entire course of 
calisthenic and gymnastic drill. The instructor, however, 
Avill not be confined to it ; as nearly all marches, dances, 
and other pieces of music that are employed to secure simul- 
taneous movements, are appropriate. 

General Commaiids, 

No. 32. — After students learn to recognize promptly the four 
commands given below, the instructor may dispense with vocal com- 
mands during a prescribed course of drill. The students will be 
taught to follow the order of the general divisions as given on p. 135, 
without words of command. All variations desired may be explained 
before the exercise commences. 

I. Attention. 

No. 33. — Whenever the instructor wishes to commence the in- 
struction ; to make an important explanation ; to vary the exercises, 
or secure marked attention for any purpose ; he will command, At- 
tention — Class ; or, in music, Attention — Attention. At the first 
word of the command, the students will fix their attention ; at the 
second, they will take their standings and assume the military posi- 
tion. If the instructor wishes simply to secure the attention of the 
class, without a change of position, he will omit the second word of 
command, or one half of the music that is employed for the com- 
mand. 

Attention Attention. 



148 



CALISTHENICS. 



IT. Position. 

No. 34. — The commands for positions to be taken, when given 
in music, vary from the usual commands. The signal for Position, 
is first given ; then the number of the position is announced by the 
number of times the next chord"^ is struck ; and finally, the com- 
mand. Position, is repeated, when the students take the position 
commanded. 



Pom 


tion ; 


First Position. 

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* 

F-?-^ iN=? — n 





III. Movements. 

No. 35. — The order of the commands for the Movements is re- 
versed in music. For example, the command, Fimt — Movements, 
becomes Movements — First ; a rest being given between the two 
words of command. It will be seen that the repetition of the last 
two notes in the first command under this title, forms the second 
command. These two notes will be struck three times for Third 
Movements; four times for Fourth, &c. Immediately after this 
command, the piece of music for the Series of exercises under con- 
sideration will be performed, and the class of movements commanded 
will be executed in due order. 



Movements First. 











Tremolo. 


^ -J ' 













Movements Second. 



GENERAL COMMANDS. 



149 



ly. Rest. 

No. 36. — If the instructor wishes the class to rest without de- 
ranging the lines, he commands, In place — Rest ; or, in music. Rest — 
Rest, At the last part of the command, each student, keeping his 
right foot on the line, will carry the left foot six inches to the rear, 
shghtly bending the advanced knee, and let the weight of the body 
fall mainly on the foot in the rear. Then he will not be required to 
give attention, or preserve steadiness of position. If, on the con- 
trary, the instructor should wish to rest the students without con- 
straining them to preserve perfect lines, he will command. Rest ; or, 
in music. Rest — as you please. At the last part of this command, 
they mil not be required to preserve immobility, or to maintain their 
positions. They will not, however, entirely break up the ranks ; but 
be in a position to instantly resume their standings at the command, 
Attention. 

1. Rest Rest. 









m — =^ 


- 

: 









2. Rest AS YOU please. 




No. 3 7. — When music is employed in connection with Calisthen- 
ics or Gymnastics, each piece will he repeated as often as required. 
For example, the first piece of music that immediately follows, en- 
titled Part First of Chest Exercise," may be repeated at pleaswe, 
answering for all the movements of each Series of that general divi- 
sion. In order to give variety, however, the instructor will use Part 
First for the First Series of Exercises ; Part Second for the Second 
Series ; Part First for the Third Series, &c. ; or the two pieces of 
music may be used alternately, the change occurring every time a 
new position is taken. 



CALISTHEXICS. 



Allegretto. 



CHEST EXERCISE. 

PART FIRST. 



VERDI. 



CHEST EXERCISE. 



151 



PART SECOND. 

J. KUFFNER. 







152 



CALISTHENICS. 



Allegro. 



SHOULDER EXERCISE 

PART FIRST. 



C. A. MORRA. 



^3 



^ * :S: 



marcato il tempo. 




f 



Z>. (7. 



SHOULDER EXERCISE. 



153 




154 



CALISTHENICS. 



11. 

SHOULDER EXERCISE. 



FIRST SERIES. 
First Position. 




Fig. ly. Fig. 20. 

No. 39. — At the last word of the third command, the students 
take the first position, Fig. 19, which differs only from the military 



^ First Position. — The class of 
movements from this position brings 
into play the muscles which raise 
the shoulders and the upper ribs, 
and enlarges upward the cavity of 
the chest. It is of great ser^^ce in 
cases of incipient consumption, and 



in -^axfisl paralyzation of the slioulder 
muscles. In cases of imequal height 
of the shoulders, proceeding from a 
partial jDaralyzation of one of them, or 
from the curvature of the spine, this 
movement should be performed fre- 
quently with the defective shoulder. 



SHOULDER EXERCISE. 



155 



position in turning the elbows out a little and bringing the palms of 
the hands in, so that the thumbs point front. 

iNo. 40. — The remaining commands are: 1. Right; 2. Left; 
3. Alternate ; 4. Both. At the first of these commands, the right 
shoulder is raised and lowered four times ; at the second, the same 
number of corresponding motions is made with the left shoulder ; at 
the third, these motions are made alternately four times, the right 
shoulder being first raised and lowered ; and at the last command, 
both shoulders are raised together and lowered four times, as repre- 
sented by the dotted lines of Fig. 19. During these movements, the 
arms are kept straight by the sides, the elbows remain unbent, and 
the shoulders are raised as powerfully and as high as possible. They 
must be lowered gently, that the head may not be too much shaken. 

Second Position. 
No. 41. — The instructor commands, Second — Position; and the 
students instantly take the position of Fig. 20, by raising the elbows 



at the sides as high as 




the shoulders, and pla- 




cing the hands in the 


armpits with the thumbs „ ..... - 




front. 




No. 42. First 




Movements Right. 




At this command, the 




right arm and hand are 




carried directly down, 




and returned to the com- 




mencing position four 


times, as represented in 




Fig. 20 ; when, at the 




command, Left, the left 




arm and hand execute 




thfi same number of 




corresponding motions ; 




then, at the command. 




Alternate, four down- 


Fio. 21, 



ward motions are made alternately ; and finally, at the command, Both, 
four downward motions are executed with both arms simultaneously. 



156 



CALISTHENICS. 



No. 43. — Second Movements — Right. The remaining commands, 
and the number and order of the movements, are the same as No. 42 ; 
but the motions are made directly out sidewise, as represented in 
Fig. 21. 

ITo. 44. — Third Movements — Right. The number and order of 
these movements are the same as those of No. 42. The movements 
are executed by carrying the arms out sidewise ; but, instead of hav- 
ing them terminate when the arms are straight, as represented in 
Fig. 21, they are continued until the arms are held vertical in line 
with the head, the backs of the hands being toward each other. 




Fig. 22. Fig. 23. 



Third Position. 

No. 45. — Third — Position. At this command, the points of the 
fingers are placed against the shoulders in front, where the arms and 
shoulders join, with the thumbs up and the elbows in line with the 
shoulders, as represented in Fig. 22. 

No. 46. — The remaining commands, and the number and order 



SHOULDER EXERCISE. 



157 



of the movements from this position, are the same as from the second 
position ; but the first class of movements is executed in front, as 
represented in Fig. 22 ; the second, by carrying the forearm directly 
out sidewise in line with the breast ; and the third, by straightening- 
the arms, and carrymg them back horizontally as far as possible. 

Fourth Position. 

No. 47. — Fourth — Position. At this command, the points of 
the fingers are placed upon the shoulders where the arms and shoul- 
ders join, with the thumbs back, and the elbows in line with the 
shoulders, as in Fig. 23. 

No. 48. — The commands, and the number and order of the move- 
ments from this position, are the same as from the second position ; 
but the first class of movements is executed directly up, as repre- 
sented in Fig. 23 ; the second, by keeping the elbows in position, and 
carrying the forearms directly sidewise ; and the third, by straighten- 
ing the arms and carrying them sidewise completely down against 
the thighs, with the hands open and the thumbs pointing back. 

SECOXD SERIES. 
First Position. 

No. 49. — The instructor commands: 1, Shoulder Exercise ; 2. 
Second Series ; 3. First — Position. 

No. 50. — At the command. Position, the students will take the 
position of Fig. 20, which is the first position of the Second Series. 
The second position is the position of Fig. 22 ; the third, of Fig. 23. 

No. 51. — The students will take these three positions in regular 
order, and execute one class of movements from each in combination, 
as follows : At the command, Right, the right arm describes the 
first motion of the first class of movements, and recovers the com- 
mencing position ; the first, of the second ; the first, of the third ; 
and again, the first of the second. At the command, Left, the left 
arm executes the same number of corresponding motions ; and, finally, 
at the command. Both, both arms execute these motions simultane- 
ously, and immediately repeat their execution. The movements of 
this series correspond Jo those of No. 19. 



CALISTHENICS. 



ELBOW EXERCISE. 

PAKT FIRST. 



Cantahile, con molto portamento. 


G. MEYERBEER. 
—Sr ■ — — — m * * — ■ * - 


















160 



CALISTHEXICS. 



^ JS.. 



;^=:p==(?: 



ARM AND HAND EXERCISE. 

PART FIRST. 



Allegro TjrillanU. 



G. MEYERBEER. 



-h- - p- -le - ^ -ig- -jg - - ig - -|e- -[^ -4— -j— - - |-— -ig- 



S3 • I 



ff. ^-^-^ ;(*: > Iff: :ff: :ff: :ff: ^'■^:ff: "A" A::ff:j4 -i^. 



:ff: • 



I I 



1 :3::S: :S::5::^: 1 :s*^ 1 »::^ 1 .p^- ^ 1 .g. 



162 



CALISTHENICS. 



PART THIRD. 



p 



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I r 



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i^:?: 



1 



ELBOW EXERClSEr 



163 



III. 

ELBOW EXERCISE. 

FIRST SERIES. 

First Position. 

No. 52. — The instructor will command: 1. Elhoio Exercise; 
2. First Series ; 3. First — Position. 

No. 53. — At the last command, the students will take the posi- 
tion of Fig. 24, which is the same as the first position of Chest 
Exercise, No. 3. 

No. 54. — First Movements — Right. At 
this command, the students will force the right 
elbow down and back, as far as possible, at 
an angle of 45 degrees, as represented by the 
lower dotted elbows of Fig. 24, and recover 
the commencing position four times. At the 
command, Left, the left elbow will execute a 
corresponding motion and recover the com- 
mencing position four times ; when, at the 
command, Alternate, four corresponding 
motions from the commencing position will 
be executed by the elbows alternately ; after 
which, at the command, Both, four of these 
motions from the commencing position will 
'be executed by both clbov\^s simultaneously. 
In executing these movements, the fists m ust 
he drawn from the breast, without varying 
the bend of the elboiv. 

No. 55. — Second Movements — Right. The remaining commands, 
and the number and order of the movements of this class, are the 
same as No. 54 ; but the motions are made with the elbows directly 
back from the position of Fig. 24, as far as possible. Read the note 
on p. 13 1, which is equally applicable to this class of movements. 

No. 56. — Third Movements — Right. The motions of this class 
are described directly upland out, as far as possible, at an angle of 





164 



CALISTHENICS. 



45 degrees, as represented by the upper dotted elbows of Fig. 24. 
The number and order of the movements are the same as in Xo. 54. 

Second Position. 
No. 57. — The instructor commands, Second — Position ; and the 
students take the position of Fig. 25, in which the hands are set fast 
on the hips, with the thumbs back. 




Fig. 25. Fig. i''-. 



No. 58. — First Jlovemenfs — Right. The class of movements 
from this position is executed by first throwing the right elbow forci- 
bly back, see dotted arm of Fig. 25, and recoverhig the commencing 
position, four times ; then the left elbow describes four correspond- 
ing motions ; then four like motions are made with the elbows 
by alternation ; and, finally, four motions are made by both elbows 
simultaneously. 

Tliird Position.' 
No. 59. — At the command, TJvhrl — Positiox, the students take 



' Tliird Position. — By tlie move- more back and dra^vn down, thereby 
ments from tlie tliird position, the A^idening the chest and promoting a 
shoulders are strengthened, tlirovrn nobler carriage. A val liable addition 



ELBOW EXERCISE. 



165 



the position by interlacing the fingers, and placing the hands firmly 
against the small of the back, thumbs pointing down, as in Fig. 26. 

No. 60— First Movements— UmiiT. The first class of move- 
ments from this position is the same as No. 58. 

"No. 61. Second Movements— Do^^. At this command, keep- 
ing the body perfectly vertical, the hands are thrust down as far as 
possible, and returned to the commencing position four times, as in 
Fig. 26 ; then, at the command, Up, an arc is described in the rear, 
by thrusting the hands and arms back and up, as high as possible, 
and resuming the commencing position four times ; and finally, at the 
command, Alternate, eight motions are made alternately from the 
commencing position, — the first being down, and the second, hack 
and up. 




Pig. 27. Fig. 2S. Eig 29. 



Ifo. 62. — TJiird Movements — Right. At this command, the 
knit hands are passed, in line with the waist, from the third position 



to these movements may he secured hy 
requiring the students to exhale the 
breath on every motion from the jyosi- 



tion, and to inhale fresh air every 
time the position is resumed, executing 
the movements slowly. 



166 



CALISTHENICS. 



to the right side, in such a manner as to draw the left arm firmly 
against the left side and across the spine, showing the hands in front, 
as represented in Fig. 2*1, when the commencing position is resumed. 
This movement is made four times to the right ; four times to the 
left ; four times from the commencing position by alternation to the 
right and left : and at the command, Both, eight motions are made 
completely round from side to side, — the first motion commencing 
from, and the eighth terminating with, the commencing position. 

Fourth Position. 

No. 63. — The instructor commands, Fourth — Position, and the 
students take the position by placing the clasped hands against the 
abdomen, with their backs front, the elbows being so bent as to form 
right angles, as in Fig. 28. 

No. 64. — First Movements — Right. This class of movements 
corresponds to the movements of T^o. 57 ; but the motions from the 
commencing position are made directly front with the elbows, the 
hands retaining their position. 

No. 65. — Second Movements — Down. At this command, the 
arms are stretched directly down as far as possible, the clasped hands 
describing the line a b in Fig. 28, and brought back to the com- 
mencing position four times ; four outward motions are then made in 
the line a d ; and, finally, eight outward motions are made alternately 
in the lines a b and a d. At the termination of each outward motion 
of this class, and the one immediately following, the palms will be 
brought forcibly together, thus producing sounds by the concussion 
which mark the time. 

No. 66. — TJiird Movements — Fkont. The number and order of 
these movements correspond to those of No. 65 ; but the motions 
are made in the lines a c and a e. 

No. 67. — Fourth Movements — Right. The number and order 
of these movements correspond to those of No. 61 ; but the motions 
are made from the fourth position by carrying the hands to the side 
and back, as in Fig. 29. Throw hands behind much farther than 
represented in this figure. The face and the feet are to be kept for- 
ward. This class of movements is very important in strengthening 
the abdominal muscles. It should be performed with great force, 
but not fast. 



ELBOW EXERCISE. 



167 



Fifth Position. 

No. 68. — At the command, Fifth — Position, the students will 
take the position of Fig. 30, in which the backs of the hands are up. 

No. 69. — Fird Movements — Up. At this command, the knit 
hands and the arms are stretched up as high as possible, as at a, in 
Fig. 30, and brought back to the commencing position four times ; 
then four similar motions are made up and front at an angle of 45 
degrees ; and finally, eight motions from this position are made alter- 
nately in these two directions. Rise oyi the toes with each upward 
motion. 




Fig. 30. Fig. 32. 



No. 70. — Second Movements — Right. At this command, the 
hands and the arms will move to the right until the left elbow 
touches the head, as seen in Fig. 31, and recover the commencing 
position four times ; when, at the command, Left, four correspond- 
ing motions will be made to the left ; then, at the command. Alter- 
nate, four motions from the fifth position will be made to the right 
and left alternately ; and finally, at the command, Both, eight mo- 
8* 



168 



CALISTHENICS. 



tions will be made the whole distance to the right and left, recover- 
ing the commencing position only on the eighth motion after the 
command, Both. 

"No. 71. — Third Movements — Front. The remaining commands 
are, Back, Alternate, Both. The number and order of the motions 
of the third class of movements from the fifth position are the same 
as the second, No. 10 ; but the motions are made from the head 
down to the front, as in Fig. 32, and behind, touching the back as 
low down as possible with the thumbs 



SECONDSERIES. 
First Position. 

No. 72. — The instructor will command: 1. Elbow Exercise; 
2. Second Series. The remaining commands, the positions, the 
classes of movements, and the order, dh'ection, and number of mo- 
tions, are the same in the Second Series as in the First ; with only 
the difference that the fingers are interlaced as at b, Fig. 80, thus 
bringing the backs of the hands loithin, and reversing the action of 
all of the muscles employed. The i^ositions of the backs of the hands, 
in all stages of execution of the movements of the First Series, must 
be reversed in the Second. 



Music. — When music is employ- on p.. 159 is better adapted to the 

ed with Calisthenics or Gymnastics, movements of Nos. 62 and 67, than 

the instructor will have the pieces, that on p. 158 : the music for Arm and 

arranged for each general division, Hand Exercise, commencing on p. 160, 

thoroughly tested, and use the music Part First, is better adapted to the 

that is best adapted to the class of movements of the First Position, p. 

movements under consideration at 169 ; and Part Second, to the move- 

the time. For example, the music ments of the Second Position, p. 170. 



ARM AI^^D HAND EXEHCISE. 



169 



lY. 

ARM AND HAND EXERCISE. 



FIRST SERIES. 

First Position. 

No. 73. — The instmctor will command: 1. Arm and Hand Ex- 
ercise ; 2. First Series ; 3. First — Positiox. 

No. 74. — At the word, Position, the students will extend their 
arms dk-ectly front, and place the palms of the hands together, as in 
Fig. 33. 




Fig. S3. Fig. 34. 



No. 75. — First Movements — Right. At this command, the stu- 
dent will describe the line a b, Fig. 33, with the right hand, and 
recover the commencing position four times ; at the command, Left, 
four corresponding motions from the position will be made with the 
left hand ; at the command, Alternate, four of these motions will 



170 



CALISTHENICS. 



be made from the position by alternatiou ; and finally, at the com- 
mand, Both, four of these motions will be made from the position 
with both hands simultaneously. Every time the commencing posi- 
tion is resumed, the palms will be struck together smartly, so as to 
mark the time. — Music for these exercises commences on p. 160. 

"No. IS. — Second Movements — Right. The remaining com- 
mands, and the number and order of the movements, are the same 
as in No. 75 ; the motions being made directly back from the com- 
mencing position, as represented by the dotted arms at the rear in 
Fig. 33. 

N"o. 77. — Third Movements — Right. These movements, which 
correspond to those of Xo. 15, are made in the arcs a c and a d. 

Second Position. 

ITo. 78. — At the command, Second — Position, the arms are ex- 
tended front, the palms are placed together, and the thumbs pointed 
to the right, as at 1, in Fig. 34. 

No. 79. — First Movements — Right ; Left ; Reciprocate. In 
executing these movements, the right palm strikes the left four drawn 
blows toward the breast, and then four similar ones in the opposite 
direction ; the same number of corresponding blows is then given the 
right palm with the left ; and, finally, one arm is thrust forward at 
the same time the other is drawn toward the breast, producing a see- 
saw or reciprocating motion, and the palms, when passing, are vigor- 
ously struck together until sixteen blows are given. The sixteen 
strokes produced by reciprocation are made with twice the rapidity 
of the preceding ones. — The Second Movements are executed with 
the hands held as at 2, in Fig. 84 ; the Tliird, as at 3. The number, 
order, direction, and kind of motions of each of the last two classes 
of movements, are the same as those of the first. These movements 
are valuable for the exercise of nearly all of the arm muscles, espe- 
cially the flexors and the muscles of the fore-part of the chest. 

Tliird Position. 

No. 80. — At the command, Third — Position, which really in- 
volves four positions, the hands are held in line with the elbows, the 
right within the left, and the thumbs pointed front, as represented at 
A, in Fig. 35. 



ARM AND HAND EXERCISE 



171 



No. 81— First Movements — Right. At this command, the 
student will raise the right hand nearly to the chin, and bring it 
down, striking the palm of the left hand with the l)ack of the right, 
four times ; at the command. Left, he will strike the right hand 
with the left, in like manner, four times ; and finally, at the com- 
mand, Alternate, he will give eight blows alternately, first striking 
the left hand with the right. He will strike 
the hands together, on both odd and even 
numbers. — Second Movements. The second 
movements only differ from the first in being 
executed with the palms of the hands down, 
and the thuml)s pointed toward the abdomen. 

No. 82. — Third Movements— Umm. At 
this command, the student will first elevate the 
hands in line with, and about eight inches in 
front of the breast, the back of the right hand 
being held against the palm of the left and the 
thumbs pointed up, as represented at b in Fig. 
35. He will then proceed to execute the move- 
ments, which only differ from the first class of 
movements of No. 81 in the direction of the 
motions, which is toward and from the breast. 
— Fourth Movements. These only differ from 
the Third in being executed with the palms to 
the front and the thumbs pointed down. 

Fourth Position. 

No. 83. — Fourth — Position. This varied position is taken in 
four places. On the word. Position, the arms are extended, and the 
palms are pressed together, as at a. Fig. 36, for the first place ; and 
each remaining place is taken at the command, Change, — the second 
place being at b ; the third, at c ; and the fourth, in front at about 
the height of a, in Fig. 35, with the palms pressed together as at d, 
Fig. 36, the right thumb pointed toward the abdomen, and the left 
directly front. 

No. 84. — First Movements. The first class of movements is 
executed by rubbing the palms vigorously together with a recipro- 
cating or see-saw motion while rapidly counting eight twice at each 





172 



CALISTHENICS. 



place named in No, 83. — The Second Movements are executed by 
rapidly striking the palms together eight times in each of the four 
places of the fourth position. 

Fifth Position. 

No. 85. — Fifth — Position. In this position, tlie arms are ex- 
tended, first to the right in line witli the chest, the thumbs being 
placed against the ends of the httle fingers, with the ends of all the 
fingers in line with the thumbs, as in Fig. 37 ; second, the arms are 



c r'v 




Fig. S6. Fig. 37. 



elevated on the same side, at an angle of 45 degrees, as represented 
by the dotted arms of Fig. 31 ; third and fourth, the arras are ex- 
tended in two directions to the left, corresponding with those to the 
right ; fifth, the arms are extended directly front in line with the 
shoulders ; and sixth, the arms are extended front and up, at an 
angle of 45 degrees, corresponding to the position of the dotted arms 
of Fig. 31. When the arms are extended to the right, the face is 
turned to the left, and vice versa. In extending the arms front, the 
head will be held erect, and the face front. 



AKM AND HAND EXERCISE. 



173 



K"o. 86. — First Movements — Right. The remaining commands 
are : Up ; Left, IJp ; Front, Up ; or the general command, Change, 
will answer for all of the commands but. Right. The first and only 
class of movements is executed by extending the arms in the first 
four directions of No. 85, and simultaneously rubbing the ends of the 
thumbs against the ends of all of the fingers {snapping the fingers) 
four times in each direction ; and finally, the arms are extended in 
the two directions front, and the fingers are snapped eight times in 
each of these positions. 



SECOND SERIES. 

First Position. 

No. 87. — The instructor will command : 1. Arm and Hand Ex- 
ercise ; 2. Second Series ; 3. First — Position. 

No. 88. — At the third command, the student will take the first 
position, as in Fig. 38, in 
which the palms are up and 
the thumbs pointed back. 

No. ^9.— First Mom- 
ments. The first class of 
movements is executed from 
the first position by tightly 
clinching the fingers, thus 
forming fists, on odd num- 
bers, and stretching; them 
out, as far as possible, on 
even numbers, four times, 
with the palms up ; four 
times with the palms turn- 
ed down ; four times with 
the thumbs up; and four 
times with the thumbs down. 

No. 90. — In all arm and hand exercises, when the arms are ex- 
tended their fall length, either sidewise or to the front, the palms will 
always have precedence, being held first up while a prescribed num- 
ber of motions are being made, and then dovm during the same 
period ; after which the thumbs are pointed up while the prescribed 




174 



CALISTHENICS. 




motions are being made, and then turned down for an equal period. 
The order and direction of these four modes of holding the hands are 
represented in Fig. 39. 

!No. 91. — Second Movements. The second class of movements 
from the position of Fig. 38, will be executed by first turning the 
arms so that the thumbs point front with the palms down on odd 
numbers, and recovering the commencing position on even ones four 
times ; second, with the arms still extended sidewise, and the hands 
held so that the thumbs point up as at 3 in Fig, 
39; turn the arms so that 
the thumbs shall describe 
arcs front and point down, 
the i^alnis being back, four 
times ; and finally, with the 
^^^^ palms up, turn the arms 
and hands completely over, 
^ ^ind recover the commen- 
cing position eight times. 
In describing the last eight 
motions from the commen- 
cing position, the arms will 
be so turned that the palms 
shall be up on both odd 
and even numbers, difi'ering 
only from Fig. 40 at the termination of the motion from the com- 
mencing position, in having the arms extended sidewise. 

No. 92. — Third Jlovemeiits — Reciprocate. At this command, 
from the position of Fig. 38, the trunk vibrates from side to side, 
bending as much as possible, icith the legs kept straight, first to the 
right and then to the left, eight times for each of the four modes of 
holding the hands described in IN'o. 90. On the thirty-second motion 
the commencing position is resumed. When the trunk bends to the 
right, the right arm is depressed and the left one elevated ; and 
when the trunk bends to the left, the left arm is depressed and the 
right one elevated, thus describing the motion of Fig. 41. This class 
of movements, with some others of the Series, is both an Arm and 
Hand, and a Trunk exercise. Indeed, it brings in play, very pleas- 
antly and effectively, nearly all the muscles of the body. Let it be 
executed frequently. 





Fig. 40. 



ARM AND HAND EXERCISE. 



175 



Second Position. 

No. 93. — At the command. Second — Positiox, the student will 
take the position of Fig. 42, in which the arms are extended horizon- 
tally front, in Une with the shoulders, with the palms up. 




Fig. 41. 



No. 94. — Fird 3Iovemenfs} This class of movements corre- 
sponds to that of Xo. 89. — Second Movements. The second class 
of movements of this position is executed by turning the palms to the 
second direction of Fig. 39, and back to the first, four times ; then 
to the fourth, and back to the third, four times ; and, finally, the 
arms are turned completely over from the position of Fig. 42 co that 
of Fig. 40, and back again, eight times. 



' Effects of Movements. — Tlie 
four classes of movements described 
jn Nos. 89, 91, and 94, bring into play 
the rotatory muscles of tlie arm and 
band, and the linger muscles. Tliev 
promote a free action of the joints of 



tlie arm, tlie wrist, and tlie fingers, 
and are, besides, useful against para- 
lyzation of tbe above-mentioned mus- 
cles, and contractions of tbe wrist 
and finger-joints. Students will fre- 
quently execute tbese movements. 



176 



CALISTHENICS. 



No/ 95. — Third Movements {Rocking Exercise)} These move- 
ments are executed by throwing the arms forcil^ly backward and for- 
ward sixteen times ; that is, four times for each of the four directions 
of the hands in Fig. 39. As the arms and hands are recovering the 
commencing position for the fourth time, the command, Chaxge, is 
given, and the direction of the palms, or thumbs, is changed and the 
movements continued. The trunk must not remain stiff, but rather 
yielding upon the hip joints in such a manner that, acting as a 
balance, it is now bent a little forward, now a little backward, as 
represented by the dotted part of Fig. 42. The whole movement is 
thereby rendered easier, and the effect more universal. 

Third Position. 

No. 96. — At the command, Third 
take the position of Fig. 43, in which 
the right palm is placed upon the back 
of the left hand, the head is drawn 
back, the chin elevated, the breast 
projected, and the back hollowed. 

No. 91 .—First Movements. The 
first and only class of movements from 
this position is executed by first bend- 
ing the trunk to the left, and de- 
scribing two arcs simultaneously with 
the hands out and back, at an angle 
of 45 degrees, and recovering the com- 
mencing position, four times (see Fig. 
43), as though one were swimming 
partially on the left side ; then the 
trunk is bent in like manner to the 
right, and four corresponding double 
motions are simultaneously executed 
from the position, as though one were 
swimming partially on the right side ; 

^ Third Movements. — In execu- back, are set in a sort of rocking ma- 
ting the movements of Nos. 92 and tion. The immediate effect of tliis 
95, not only the respective arm and motion is an agreeable feeling ; and 
shoulder muscles, but most of those although the motion itself is some- 
of the abdomen, the sides, and the what violent, its influence is, on the 



— PosiTiox, the student will 




Fic-. 43. 



ARM AND HAND EXERCISE. 



177 



and, finally, standing erect, with the elbows in line with the shoulders, 
eight outward motions are made with both arms simultaneously, as 
though a swimmer were striking out directly in front. On every 
outward movement from the commencing position, the student rises 
on the toes, and stretches the whole body upward and forward. 



THIRD SERIES. 



First Position. 

No. 98. — The instructor commands: 1. Arm and Rand Exer- 
cise; 2. Third Series; 3. First — Position. 

No. 99. — At the third command, the student will take the posi- 
tion of Fig. 44, with the ^ - 

arms extended horizon- ju " 

tally, and the palms up, , . • ■ . 

as at A and c. 

No. 100. First 

Movements — Right. At 
this command, the right 
arm will describe the arc 
A B and recover the com- 
mencing position four 
times ; then, at the com- 
mand. Left, the left arm 
will describe the arc c d, 
and recover the commen- 
cing position four times ; 
then, at the command, 
Alternate, four corre- 
sponding downward mo- 
tions will be made with 




whole, a mild one. It forms, first, 
a pretty good quota of the whole 
amount of exercise required, and is a 
powerful promoter of the circulation 
of the blood. It is also of essential 
service in cases of paralyzation of the 
muscles of the arm, back, and abdo- 



men, as well as sluggishness and in- 
terruption of the functions of the 
abdomen in general, and is recom- 
mended on account of its mild work- 
ing in special cases, and particularly 
as a rest during the execution of a 
series of calisthenic exercises. Al- 



178 



CALISTHENICS. 



the arms alternately ; and, finally, at the command, Both, the arcs 
A B and c D will be described, and the commencing position regained 
four times with both arms simultaneously. 

No. 101. — Second Movements — Right. The remaining com- 
mands, and the number and order of the motions, are the same as 
those of No. 100 ; but this class of movements is executed in the 
arcs A E and c f. In raising the arms separately, they are to be 
carried up only to a vertical position ; but when both arms are raised 
simultaneously, the palms are vigorously brought together over the 
head, as represented in Fig. 44. 

No. 102. — Tliird Movements} The only remaining command 
of this class of movements. Change, is employed three times. Fu^st, 
the right arm will describe the arc a b, and the left c r, and recover 
the commencing position four times simultaneously ; then the right 
arm will describe the arc a e, and the left c d, and recover the com- 
mencing position four times in like manner ; then the right arm will 
describe the arc a b at the same time the left is describing c f, when 
the right arm will describe the entire arc b a e, and the left f c d, 
simultaneously, only stopping at the commencing position, a and c, 
after the right hand has been at b and the left at f four times ; and, 
finally, both arms will pass up to e and f, and then describe simul- 
taneously the complete arcs e a b and f c d, and immediately regain 
the position of the dotted arms at e f, only stopping at the com- 
mencing position, A and c, on the fourth downward motion. 

Second Position. 

No. 103. — At the command. Second — Position, the students 
will take the position of Fig. 42, which only differs from the position 

though the movement is not what the nervous system of the abdomen, 
may be called heating (in spite of the and which are not to be otherwise 
impulse given to the blood), yet- it explained. If thought necessary, 
may be advantageously used for these classes of movements may ho 
warming the trunk, arms, and hands, executed several times. 
It has a favorable effect as a stimu- ^ The movements of this position 
lant at those times of bodily and men- bring into play the allotment or rais- 
tal lassitude which now and then ing muscles of the arm, and the side- 
arrive, in consequence sometimes of neck muscles, enlarge the sides of the 
a change in the weather or of the chest and the space between the lower 
season, or of a disarranged state of ribs, and promote healthy respiration. 



ARxAI AND HAND EXERCISE. 



179 



of No. 99 in having the arms extended directly /"ron^, in Kne with 
the shoulders. 

"S^O. 104. — The three classes of movements from this position 
have the same number and order of motions, and the same commands, 
as Nos. 100, 101, and 102, respectively; but they are executed in 
front of the body instead of to the sides. 

Third Position. 

No. 105. — At the command. Third — PosrnoN, the student will 
take the position of Fig. ^, 
45, in which the arms ^. • 7(( 

and hands are as at a a. □ . - - • r - , -' □ 

No. 106. First 

Movements. These 

movements are executed 
from the sides by bend- 
ing both elbows simul- . '■: 
taneously, and drawing 
the forearms in on odd 
numbers and straighten- 
ing the arms on even d 
ones, first from a a to 
B B, Fig. 45 ; from b b 
to c c ; from c c to d d ; 
from D D to EE; and 
then back, by reversing 
the order of the motions. 
These motions will be 
made in regular order 
from A A to E E and back, 
twice with the palms out at the sides and the thumbs back ; and 
twice with the backs of the hands out and the thumbs pointed front. 

No. 107. — Second Movements. The second class of movements 
is made in front, as represented by Fig. 46. In its execution, the 
elbows are bent and the arms thrust simultaneously forward, in 
such a manner as to form the irregular line b c d e f. When counting 
is employed, the arms will be at a c on two ; at a d, on four; at a e, 
on six ; and at a f, on eight ; when the direction of the motions is 




Fio. 45. 



180 



CALISTHENICS- 



reversed, and the arms resume the position a b on the second eight. 
These motions are made in front from b f 
to F, and back from f to b, once with the ''-^ 
palms held front and up; once with the '■ e 

backs of the hands front and up ; once 
with the thumbs pointed front and up ; 
and once with the thumbs pointed back 
and down, see Fig. 39. 



FOURTH SERIES. 

First Position. 

No. 108. — The instructor commands : 
1. Arm and Hand Exercise ; 2. Fourth 
Series; 3. First — Posmox. 

No. 109. — At the last command, the 
student will take the position of Fig. 47. 

Ho. 110. — First Movements {Chop- 
ping). The first and only class of move- 
ments from this position is executed by 
first making the motion represented by 
the dotted part of Fig. 47, and recover- 
ing the commencing position eight times ; 
and then taking the position on the left 
side, with the left hand higher than the 
right, like a left-handed chopper, and 
making eight corresponding downward 
motions inclining to the right. The ac- 
cent will be placed upon the downward 
motions. 

Second Position. 

No. 111. — At the command. Second 
— Position, the student will take the po- 
sition of Fig. 48. 

No. 112. — The movements of this 




Fig. 46. 




Fig. 47, 



position correspond to those of No. 110 ; but the eight motions from 



ARM AND HAND EXERCISE. 



181 




Fig. 43. 



the right side are made by throwing the arms up, as represented by 
the dotted part of Fig. 48. Eight cor- 
responding upward motions are made from -C ' 
the left side, the motions to recover the 
commencing position being unaccented. 
These are the motions of a chopper, vrho 
is chopping into a tree as high as possible 
above his head. 

Third Position. 

No. 113. — At the command, Th'rd — 
Position {Sawing), the student will take 
the position of Fig. 49, in which the body 
is bent slightly forward, inclining to the 
right, and priiicipally supported on the 
right foot ; the arms are bent at the 
elbows, and the left fist is held higher 
than the right, as though one were hold- 
ing a buck-saw in position to give a down- 
ward stroke. 

No. 114. — First Movements — Dowx. 
At this command, the arms are thrust 
down slightly inchniug front, as repre- 
sented by the dotted arms of Fig. 49, and 
instantly brought back to the commencing 
position sixteen times ; when, at the com- 
mand, Chaxge, the body is iuchned to the 
left, its weight being principally tln'ovv^n 
on the left foot, the position of the hands 
is reversed, and sixteen corresponding- 
downward motions are made to the left. 
The motions to recover the commencing 
position are made by bending the elbows 
as in sawing firewood. The air will h:', 
audibly expired on each downward mo- 
tion, 2^^oducing the sound represented 
by the combination sh, and inspired on each iqjward motion, taking 
care to have the lungs fully inflated each time the commencing 




Fig. 40. 



182 



CALISTHEXICS. 



position is regained. These movements contribute much to the 
amount of necessary universal action, and exercise the chest, and 
nearly all the muscles of the arm, shoulder, and back. 



Fourth Position. 



No. 115. — Fourth — Position {Jloicing). 
student, advancing the right leg and foot, 
and extending the arms to the right, will 
take the position of Fig. 50, in which the 
body is bent forward a little, to give free 
action to the arms. This is the position of 
one who is mowing grass on level ground. 
This position varies twice during the execu- 
tion of the movements : first, to that of Fig. 
51, in which the body is upright and the 
arms are stretched directly to the right, as 
thouo-h one standing in a ditch were mowiEs: 

CO o 

in hue with the breast ; and, second, the 
body is bent a little back, and the arms held 
to the right, inclining up, as though one 
mowing on a side-hill were reaching higher 
than his head, as in Fig. 52. 



At this command, the 




Fig. 50. 




Fig. 51. Fig. 52. 



No. 116. — First 3Iovements} In describing the first and only 
class of movements from the Fourth Position, the feet remain immov- 



^ These movements cause a lively cles of the arms, but also a sort of 
activity, not only of the muscles of see-saw stretching of all the muscles 
the shoulders and the allotment mus- of the trunk, leg, and foot. They 



ARM AXD HAXD EXERCISE. 



183 



able, and the arms describe semicircles alternately to the left, and 
then back to the right. One should imagine one's self mowing both 
left and right, in which motion a certain force is exerted in the 
act of swinging. The accent must be laid equally upon the move- 
ment to the left and that to the right. The students will describe 
eight semicircles of Fig. 50 ; eight, of Fig. 51 ; and sixteen, of Fig. 
52. These semicircles are made with both arms simultaneously. 
This class of movements should be repeated before passing to the 
next Series. ^ 



FIFTH SERIES. 



First Position. 

No. 117. — The instructor will command: 1. Arm and Hand 
Exercise; 2. Ffth Series; 3. First — Position. 

No. 118. — At the third command, the students will take the 
position of Fig. 53, in which the forearms are placed upon the hips, 
with the fists extended just in front of the vv^aist, and their backs out 
to the sides. 

No. 119. — Fii'st Movements, The first class 
of movements is executed by first describing, with 
both hands simultaneously, sixteen outward cu'cles, 
and then sixteen inward ones, as represented by the 
dotted chiles of Fig. 53. 

No. 120. — Second Movements. This class of 
movements only differs from Xo. 119 in being exe- 
cuted with the elbows upon the hips, thus describing 
larger circles, as represented in Fig. 54. 



Second Position. 

No. 121. — At the command, Second — Position, 
the student will take the position of Fig. 55, in 
which the right hand is held about five inches above 
the left, with both palms up and the thumbs pointed 
front. 




Fig. 53. 




Fig. 54. 



have, therefore, an invigorating in- great service in cases of a general 
fiuence upon the limb-moving mus- muscular weakness, and of paralyra- 
cles of the whole body, and are of tion of the spinal marrow. 



184 



CALISTHENICS. 



No. 122. — First Movements. The movements are executed by 
moving the hands rapidly around each other in circles, as in Fig. 55, 
describing sixteen inward circles (eight with each hand) and sixteen 
outward ones, with the palms up ; and then, at the command, Chaxge, 
without changing the relative position of the hands, the palms are 
turned down and the thumbs pointed toward the abdomen, when 
sixteen additional inward and sixteen outward circles are described. 
At the second command, Change, the right hand is held above the 
left, with the palms in and the thumbs pointed up ; at the third, 
without changing the relative position of the hands, the palms are 
turned front and the thumbs pointed down. Sixteen imcard and 
sixteen outward circles are executed with the thumbs pointed up, 
and the same number with the thumbs pointed down. 




Fig. 55, Fig. 56. 



Third Position. 

No. 123. — At the command, TJiird — Position, the position taken 
is that of Fig. 56, in which the arms and the backs of the hands are 
extended front at an angle of 45 degrees. 

No. 124. — First Movements — Right, At this command, the 



ARM AND HAND EXERCISE. 



185 



right arm will describe eight as large side circles as possible, in a 
backward direction, as indicated by the arrow in Fig. 56 ; then, at 
the command, Left, the left arm will describe eight corresponding- 
circles ; then, at the command. Alternate, eight corresponding circles 
will be described with the arms alternately, the left arm commencing 
a circle just before the right arm has regained its commencing posi- 
tion, thus rendering the circle continuous ; and, finally, at the com- 
mand, Both, eight corresponding- 
circles will be described with both 
arms simultaneously. All side and 
head circles will be described in 
the direction of the palms, the / 
students standing with the feet in / 
the military position, and bringing ! 
the arms close to the head while ', 
executing the movements. N 

Fourth Position. 

No. 125. — At the command. 
Fourth — Position, the student 
will take the position of Fig. 57. 
The number, order, and kind of 
motions* from this position are 
the same as those of No. 124 ; 
but the circles are described in 
the direction indicated by the 
arrow in Fig. 5t. Fig. 57. 

Fifth Position. 

No. 126. — At the command, Fifth— Position, the student will 
take the position of Fig. 58, in which the elbows are extended to the 
sides, and the hands are held over the head with the palms front. 



' The movements of Nos. 124 and tion, and then holding the breath 

125 cause a freedom of action of the while these circular motions are made 

shoulders, promote respiration, and as described above. This is one of 

enlarge the framework of the chest, the very best methods of enlarging 

They may be improved upon bv in- the capacity of the air-cells of the 

flating the lungs yvith a full inspira- lungs. 




186 



CALISTHENICS. 



No. 127. — First Ilovements — Right. These movements are 
executed by describing circles over the head in the direction of the 
palms : First, eight circles are described with the right arm ; then, 
eight with the left ; and finally, sixteen circles are described with 
both arms simultaneously, as represented in Fig. 58. A circle is 
completed on every number counted. 

No. 128. Second Movements — 

Right. In executing these movements, 
the backs of the hands are held front, 
with the thumbs up. The number of 
circles, and the order of their execu- 
tion, are the same as in No. 12t ; but 
they are described in an opposite du'ec- 
tion. These movements cause a freedom 
of the action of the shoulders, of the 
elbows,- and of the wrists, and bring in 
play nearly all the muscles of the trunk. 
They may be rendered more interesting 
by occasionally executing them with a 
handkerchief in the hand, the time being- 
marked by repeatedly shouting the word 
Hurrah (hoo rah'), as in giving hearty 
cheers. In this event, the trunk will first 
bend to the left, and the left arm will 
hang in its usual position by the side, while the right arm describes 
eight as large circles as possible with the handkerchief over the 
head ; then the left arm will describe eight corresponding circles, 
the right arm being suspended by the side, and the trunk bent to the 
right. In shouting Hurrah, the first syllable will be uttered with 
twice the rapidity of the second. A circle will be described every 
time the first syllable is uttered, and then the arm will remain mo- 
tionless long enough to utter the second syllable and to thoroughly 
mflate the lungs. 




HEAD AND NECK EXERCISE. 



187 



HEAD AND NECK EXERCISE 



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H. B. DODWORTH. 



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188 



CALISTHENICS. 



TRUNK AND WAIST EXERCISE. 

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190 



CALISTHENICS. 



PART SECOI^"D. 



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ICUHNER. 



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HEAD AND NECK EXERCISE. 



191 



Y. 

HEAD AND NECK EXERCISE. 

FIRST SERIES. 

First Position. 

No. 129. — The instructor will command: 1. Head and Neck 
Exercise ; 2. Fi7^st Series ; 3. First — Position. 



No. 130. — On the second word of the third 
command, the student will take the position 
from the habitual or military one, p. 120, by 
simply placing the hands back of and upon the 
hips, icith the thumbs front, as represented in 
Fig. 59, the head being held vertical. The 
elbows will be forced down and back as far as 
possible. This is the position of the arms and 
hands for ail the movements of the Series. 

No. 131. — First Jlovements — Right. At 
this command, the head will bend down to the 
right, as represented by the dotted head of 
Fig. 60, and regain the commencing position 
four times ; then, at the command, Left, four 
corresponding motions from the position will 
be made to the left ; then, at the command. 
Alternate, four of these motions will be made 
alternately, first to the inght and back to the 
commencing position, and then to the left; 
and finally, at the command. Both, eight mo- 
tions will be made completely over from side 
to side, the first motion commencing from, 
and the eighth terminating at, the commen- 
cing position. All the movements of the head 
and neck are to be done in slow time. They 
comprise flexions, turnings, and extensions. 




la executing the flexions of this class of 

movements, the head is exactly bent to the side designated, without 
9* 



192 



CALISTHENICS. 




Fig. 61. 



twisting the face or shoulders, and with no raising of the 
shoulder, nor sinking down of the shoulder on the same 

No. 132. — Second Movements. The 
commands of execution are : 1. Front ; 
2. Back ; 3. Alternate ; 4. Both. In 
the commencmg position the head is ver- 
tical. The movements are executed di- 
rectly front and back, as represented in 
Fig. 61. The number of motions, and the 
order in which they are made, are the 
same as in No. 131. 

No. 133. — Third Movements — Right. 
These movements are executed by first 
turning the head horizontally to the right 
side, without the least flexion, so as to 
bring the inner corner of the left eye in 
line with the eyes of students in, or sup- 
posed to be in, the same rank, as in Fig. 
62, and regaining the commencing posi- 
tion four times ; then four corresponding 
motions from the commencing position will 
be made to the left ; then four of these 
motions will be made alternately, first to 
the right and back to the commencing 
position, and then to the left ; and finally, 
eight motions will be made from side to 
side, describing one half of a circle with 
the head at each turning, only the first 
motion commencing from, and the eighth 
terminating at, the commencing position. 



opposite 




Fia. 62. 




Fig. 63. 



Second Position. 

No. 134. — At the command. Second — Position, the neck will be 
bent first to the right, and the head lowered as far as possible, as 
represented by the dotted head of Fig. 60. 

No. 135. — First Movements. These movements are executed 
by first describing four circles with the head and neck from the right 
shoulder, the head advancing to the front before passing over the 



HEAD AND NECK EXERCISE. 



193 



left shoulder, as represented in Fig. 63 ; then four circles are de- 
scribed from the right shoulder, the head being carried to the rear 
before passing over the left shoulder ; then the position is taken over 
the left shoulder, and four circles are described by moving the head 
to the rear before it passes over the right shoulder ; and finally, 
four circles are described from the left shoulder by advancing the 
head to the front before it passes over the right shoulder. The 
circumference of the circle will be as great as the articulation of the 
neck renders possible. Students will first employ the third variety 
of counting, p. 144, in connection with these movements. The chin 
passes over a shoulder on each accented number. These movements 
set all the muscles of the neck in motion, and render their action 
freer. They are a valuable remedy against nervous giddiness and 
stiffness of the neck. 

SECOND SERIES. 

First Position. 
No. 136. — The instructor commands : 1. Head and Neck Exer- 



cise ; 2. Second Series ; 3. First — Posi- 
tion. At the last command, the students 
will take the position of Fig. 59. 

No. 137. — First Movements — Right. 
At this command, the head is turned over 
the right shoulder, and the neck is stretch- 
ed, with a downiuard flexion, as if one 
were trying to look at the heels, as in 
Fig. 64. As soon as the neck has been 
stretched as far as possible, the head is 
turned front and raised into the vertical 
position. This motion from the commen- 
cing position is described four times to 
the right ; then, at the command, Left, a 
corresponding motion is described four 
times to the left ; then, at the command, 
Alternate, four of these motions are 
made alternately, first to the right ; and 
finally, at the command, Both, eight 




194 



CALISTHENICS. 



double motions are made from side to side, the first commencing 
from, and the eighth ending at, the commencing position. All the 
movements of this Series are executed in very slow time. 

No. 138. — Second Movements — Right. The remaining com- 
mands, and the number and order of the motions, are the same as in 
Zio. 13t. In executing the movements, the head, held vertical, is 
stretched over the shoulders as far as possible, as though one were 
trying, without moving the feet or the trunk, to look at an object in 
line with the head directly in the rear, as represented in Fig. 65. 

No. 139. — Tliird Movements — Right. The remaining commands, 
and the number and order of these movements, are the same as in 
No. 137 ; but the motions are made by stretching the neck with an 
upward flexion of the head, as though one were trying to look at a 
mark on the ceiling directly back of, and in line with, the opposite 
shoulder, as in Fig. 66. 



YI 

TRUNK AND WAIST EXERCISE. 



FIRST SERIES. 

First Position. 

No. 140. — The instructor will command: 1. Trunk and Waist 
Ilxercise; 2. First Series ; 3. First — Position. 

No. 141. — At the last command, the student will take the posi- 
tion of the dotted part of Fig. 6t, or of No. 130. 

No. 142. — First Movements — Right. The remaining commands 
are : 1. Left ; 2. Alternate ; 3. Both. The movements are exe- 
cuted with the legs unbent and their muscles rigid. The trunk will 
first bend to the right as far as possible, as in Fig. 67, and recover 
the vertical position four times ; then four corresponding motions 
will be made to the left ; then four motions will be made to the sides 
alternately ; and finally, eight motions will be made from side to 



TRUNK AND WAIST EXERCISE. 



195 



side, the first commencing from, and the eighth terminating at, the 
commencing position. All the movements are made energetically, 
hut in slow ^me.— Music for these exercises on p. 88. 




"No.l^iZ— Second Movements. The 
commands of execution are : 1. Front ; 
2. Back ; 3. Alternate ; 4. Both. The 
number and order of these movements 
are the same as in No. 142 ; but the 
body is bent forward and backward in- 
stead of sidewise. Wlien making the 
forward motions, the legs and the spine 
are kept straight, the bending taking 
place only at the hips, as in Fig. 68. 
The backward motions are usually made 
with the legs straight ; but students will 
occasionally be required to bend back- 
ward as far as possible, as in Fig. 69. 

No. 144. — Third Movements — Right. The remaining com- 
mands, and the number and order of the motions, are the same as in 




196 



CALISTHENICS. 



No. 142 ; but, in describing the movements, the trunk maintains its 
upright position, and turns on its axis the same distance on each side, 
the legs and feet being immovable, and the back well stretched, as in 
Fig. 70. The trunk turns to the right side only far enough to bring 
the inner corner of the left eye in line with the eyes of students in, 
or supposed to be in, the same rank, and the same distance to 
the left 




Fig. 70. Fig. 71. 



Second Position. 

No. 145. — Second — Position. At this command, the body is 
bent side wise, iirst to the right, as in Fig. 67, the legs rerhaining 
straight. 

No. 146. — First Movements. In executing these movements, 
the trunk, turning on the hips, advancing front from the right, as in 
Fig. 71, first describes four circles in the direction indicated by the 
arrow ; then four circles are described in a contrary direction ; then, 
with the position taken on the left side (the trunk bent to the left as 
far as possible), four circles will be described in the direction indi- 
cated by the arrow in Fig. 7 1 ; and finally, four circles will be de- 
scribed from the left in a contrary direction. The proper and equal 



TRUNK AND WAIST EXERCISE. 



197 



exercise of the muscles of the trunk has a more direct and favorable 
influence on the health than that of any other member. These move- 
ments bring into play and strengthen all the muscles lying about the 
hips. They also give a sort of see-saw, alternate motion to the 
abdominal muscles. This motion gives a universal impulse to the 
digestive organs, and is therefore recommended in cases of sluggish- 
ness, and the many evils consequent thereupon. In cases of nervous 
giddiness, these movements must at first be practiced sitting. 



SECOND SERIES. 

First Position. 

No. 147. — The instructor commands : 1. Trunk and Waist Ex- 
ercise; 2. Second Series; 3. First — Position. 

No. 148. — At the third command, the student will take the 
position of Fig. 59, which is the commencing position of the three 
classes of movements of this Series. 

No. 149. — First Movements — Right. 
At this command, with the feet immova- 
ble, the trunk is turned over the right hip, 
and stretched, with a downward fiexion, 
as in Fig. 72, sufficiently to enable the 
student to see the heels of those at the 
left in, or supposed to be in, the same 
rank, and then the commencing position 
is resumed. This movement is described 
four times to the right ; then, at the com- 
mand. Left, a corresponding movement is 
described four times to the left ; then, at 
the command. Alternate, four of these 
movements are made from the commencing 
position alternately, first to the right ; 
and finally, at the command, Both, eight 
combined movements are made, first de- 
scribing a movement from the commencing position to the right, and 
then completely round and over to the left, only pausing at the com- 
mencing position on the eighth motion. 




198 



CALISTHENICS. 



"No. 150. — Second Movements — Right. The remaining com- 
mands, and the number and order of the motions, are the same as 
in No. 149 ; but, in executing the movements, the trunk, held verti- 
cal, is stretched over the hips as far as j^ossible, as though one, 
with his feet immovable, were trying to turn his back completely 
in front, see Fig. t3. 




Fig. 78. Fig. 74. 



"No. 151. — Third Movements — Right. The remaining com- 
mands, and the number and order of this class of movements, are 
the same as No. 149 ; but the trunk, in descrbiing the motions, is 
stretched with an upward flexion, as in Fig, 74. 

No. 152. — While the three classes of movements immediately 
preceding, form a splendid Series of Trunk and Waist Exercises, 
they are much more than this : they embrace, in combination, ener- 
getic and invigorating exercise for the head and neck, trunk and 
waist, knee, and leg and foot, bringing into play nearly all the muscles 
of the body. 



KNEE EXERCISE. 



199 



VIL 

KNEE EXERCISE. 



FIRST SERIES. 

First Position. 

No. 153. — The instructor will command: 1. Knee Exercise; 
2. First Series ;^ 3. First — Position. 

No. 154. — At the third command, 
the student will take the position by 
grasping the hips with the hands, turn- 
ing the left foot so that it points directly 
front, and placing the right heel behind 
the left in such a manner that the feet 
form a right angle in front, as repre- 
sented in Fig. 15. There are nine posi- 
tions of the feet for the three classes 
of movements of the First Position. 
In the first, Fig. 1 6, the right heel is 
placed behind the left, forming a right 
angle in front ; in the second, the right 
heel is placed against the middle of the 
left foot, forming a right angle both in 
front and in the rear ; in the third, the 
right heel is placed in front of the toes 
of the left foot in such a manner that 
the right foot points to the right ; in 
the fourth, the points of the feet are 
turned toward each other, and the heels, are turned out as far as 

^ First Series. — The movements elegance to the whole carriage. They 

of this Series are calculated to give are also valuable preparatory exer- 

strength and elasticity to the feet and cises for walking, leaping, running, 

legs, and, indirectly, ease, grace, and or dancing. 




200 



CALISTHENICS. 






possible, so as to form nearly a straight line, as in Fig. 16. The 
ffth, sixth, and seventh positious correspond respectively to the 
first, second, and third, the heel of 
the left foot being behind that of the 
right in the fifth position, against 
the middle of the right foot in the 
sixth, and in front of the toes of the 
right foot in the seventh. In the 
eighth position^ of Fig. 76, the heels 
are placed together, and the toes 
turned out, so as to form a straight 
line, In the ninth, the feet are 
placed about two inches apart, par- 
allel, and pointed du'ectly front, and 
the weight of the body is thrown 
upon the toes. 

No. 155. — First Movements — 
Sink. At this command, the stu- 
dents sink as low as possible with- 
out throwing the feet out of position, 
as represented by the dotted part of 
Fig. 75, the trunk remaining up- 
right, and then rise to thek full 
height, four times, with the feet in 
each of the first four positions of 
Fig. 76. On each fourth upward 
motion, the next position of the feet 
is immediately taken icith a stamj), 
without words of command. Fig. 76. 

No. 156. — Second Jlovements — Sixk. These movements only 
differ from those of Xo. 155 in being executed in the fifth, sixth, 
seventh, and eighth positions of Fig. 76. 

No. 157. — TJiird Movements' — Sixk. These movements are 






^ Eighth Position. — On first at- 
tempting to take this position, the 
student may not be able to throw the 
toes quite out to a straight line ; and 
in this case they should be turned 
only as far as possible without render- 



ing the lody unsteadij. A little prac- 
tice, however, will enable almost anv 
one to assume the position with ease 
and comfort. 

^ Third Movements. — This class 
of movements is effective for render- 



KNEE EXERCISE. 



201 



executed from the position of Fig. 11, in which the feet are in the 
ninth position of Tig. 76, by first letting down the body as low as 
possible, as in the dotted part of Eig. 11, and 
then raising it on the toes to its full height 
sixteen times. The trunk of the dotted part 
of the Fig., however, inclines too much for- 
ward, as it should retain its upright position 
during the entire exercise. At first, the main- 
tenance of a vertical position of the trunk is 
attended with some difficulty, as there is m- 
voluntarily a greater or less disposition to 
bending forward, caused by the changing of 
the center of gravity ; but this is soon over- 
come. 

Second Position. 

No. 158. — At the command. Second — 
Position, the student will take the position 
of Fig. 59, which is the commencing position 
for the two classes of movements immediately 
following. 

No. 159. — First Movements — Right. At 
this command, the student will first stamp 
with the left foot, turning out its point as the commencing position 
is regained, and then immediately step to the right, with a stamp of 
the right foot, leaving about three times the length of the foot 
between the heels, thus taking the position of Fig. 78. In this 
position the toes are turned out so that the feet form nearly a 
straight line to the sides, and the body rests equally on both feet. 
As soon as this position is gained, the movements are continued by 
making. the motion of the dotted part of Fig. 78, and regaining the 
position seven times. In making this motion to the right, the full 
weight of the body is thrown upon the right knee, the left leg being 
kept rigid and straight. As soon as the seventh change to the 



ing freer all the joints of the leg and to maintain the trunk in an upright 

foot, though it chiefly employs the position, it also acts in a not unim- 

extensor muscles of the calves and portant manner upon the lower mus- 

to6S. Owing to the exertion required cles of the back. 




202 



CALISTHENICS. 



right is made, the student instantly recovers the position of No. 158, 
by placing the right foot beside the left in the military position ; 
then, at the command, Left, 
the student first stamps with 
the right foot and then steps 
to the left, with a stamp of 
the left foot, and makes 
seven motions to the left 
corresponding to the dotted 
part of Fig. 18, after which 
the original position is im- 
mediately regained. 

No. 160. — Second Move- 
ments — Alternate. At this 
command, the student, first 
stepping to the right with a 
stamp of the right foot, and 
then to the left with a stamp 
of the left foot, thus placing 
the heels about three times 
the length of the foot apart, 
makes seven of the motions 
of Fig. "18 by alternation, 
first to the right from this 
position and then to the left, 
when, at the command, Both, 
sixteen of these motions are 
described completely over 
from side to side, the body 
pausing in a vertical position 
only after the sixteenth out- 
ward motion has been made, 
when the position of No. 158 
is instantly resumed. 

No. 161.— Third Move- 
ments — Right. This class 
of movements only differs 
from No. 159 in being exe- Fig. 




KNEE EXERCISE. 



203 



cuted directly front, as represented in Fig. 79. The foot in the rear, 
hoiuever, should be turned sidewise instead of front. In making 
the advanced movements of Fig. 19, the weight of the body is thrown 
wholly upon the forward foot, over which the knee is extended as 
far as possible, the trunk and the leg in the rear forming a straight 
line which inchnes toward the horizontal floor. 



SECOND SERIES. 



First Position. 

No. 162. — The instructor will command: I. Knee Exercise, 
2. Second Series; 3. First — Position. 

No. 163. — At the last command, 
the student will take the position of 
Fig. 80, in which the knee is bent as 
much as possible, and pointed directly 
down, the calf of the leg and the heel 
being pressed firmly against the thigh. 

No. 164. — First Movements — 
Right. At this command, the right 
leg will first be straightened, and the 
right foot carried directly down and 
placed beside the left in the military 
position, p. 120, when the commencing 
position will immediately be regained. 
On the fourth motion from the com- 
mencing position, at the command, / ' 
Left, the right foot will remain down, ' ^ 
and the left leg will take a position 
corresponding to that of Fig. 80, when 
four downward motions will be made 
with the left leg and foot, on the last of which the right leg regains 
the position of Fig. 80 ; then, at the command, Alternate, four 
downward motions will be made by alternation, the foot that sus- 
tains the body remaining in position until the descending one is placed 
by its side ; and finally, at the command, Reciprocate, eight down- 
ward reciprocating motions will be made by springing from the floor, 
one foot taking tlie position at the same time the other one descends. 




Fig. 80. 



204 



CALISTHENICS. 



No. 165. — Second Movements — Right. At this command, the 
student will first make the motion of the dotted part of Fig. 80, by 
a yigorous kick with the right leg and foot, four times ; then, at the 
command, Left, four corresponding backward motions will be made 
with the left leg and foot ; and finally, at the command. Alternate, 
eight of these motions to the rear will be made with the right leg 
and the left alternately. 




Fitt. 81. ' Fig. 82. 



No. 166. — Third Movements {Combined) — Right. The third 
class of movements is formed by a combination of the first and second 
classes. The right leg and foot first describe four of the motions of 
No. 164, from the position of Fig. 80 ; then four of the motions of 
No. 165 ; and finally, eight motions are made from the position alter- 
nately, the first being down and back to the original position, and 
the second to the rear. At the command, Left, the left leg and foot 
describe the same number of corresponding motions in combination. 

Second Position. 

No. 167. — At the command, Second — Position, the student will 
take the position of Fig. 81, in which the knee is raised front as high 



KNEE EXERCISE. 



205 



as the hip. The first, second, and third classes of movements from 
this position correspond respectively to those of the position immedi- 
ately preceding, the motions of first being made directly down ; 
of the second, du*ectly out, as represented by the dotted part of Fig. 
81 ; and of the third, by a combination of first and the second. 

No. 168 . — Fourth Movements — Right. At this command, from 
the position of Fig. 81, the student first raises the right knee as 
high as possible, as in Fig. 82, and 
resumes the commencing position 
four times ; then the right foot is 
brought down by the side of the 
left, and the knee raised to the 
commencing position four times ; 
then, at the command, Alternate, 
four of these motions are made 
from the commencing position al- 
ternately, fiirst up, as in Fig. 82 ; 
and finally, at the command. 
Both, eight motions are made the 
whole distance from the breast to 
the floor, the first commencing 
from, and the eighth terminating 
at, the position of Fig, 81.^ At 
the command, Left, the left leg 
and foot describe the same num- 
ber of corresponding motions. * Fig. 83. 

Third Position. 

No. 169. — At the command, Third — Position, the student will 
take the position of Fig. 83. The first, second, and third classes of 
movements from this position correspond respectively to those of the 
Second Position, p. 203, the motions of the first being made directly 
down .; of second, directly sidewise, as represented by the dotted 
leg of Fig. 83 ; and of the third, by a combination of the^rs^ and the 
second. These movements will be made vigorously, but in slow time. 



' These Movements become so the breast on every upward motion ; 
perfect, after a fair amount of prac- the upper part of the hody being kept 
tice, that the knee lightly touches as immo'oahle possible. 




206 



CALISTHENICS. 



LEG AND FOOT EXERCISE. 

PART FISST. 



Allegro con hrio. 



DONIZETTI. 



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PAET SECOND. 

Alleg)'o. 



G. WEINGARTEN. 



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LEG AND FOOT EXERCISE. 



207 




208 



CALISTHENICS. 



PAET FOURTH. 







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PART FIFTH. 

VON WEBER. 



LEG AND FOOT EXERCISE. 



209 



PART SIXTH. 

KUHNER. 



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210 



CALISTHENICS. 



VIII. 

LEG AND FOOT EXERCISE. 

FIRST SERIES. 

First Position. 

No. 170. — The instructor will command: 1. Leg and Foot Ex- 
ercise ; 2. First Series; 3. Fi?^st — Position. 

No. 171. — At the third command, the student will take the posi- 
tion of Fig. 84. 

No. 172. — Fi7^st Movements — Right. 
First, the front part of the right foot will 
be raised and lowered eight times, as ener- 
getically as possible, as in Fig. 84, both 
an upward and a downward motion being 
made on each number counted ; then, at 
the command, Left, the same number of 
corresponding motions will be made with 
the front part of the left foot ; then, at 
the command, Alternate, eight of these 
motions will be made alternately, first 
with the right foot and then with the left ; 
and finally, at the command. Reciprocate, 
eight of these motions will be made by 
reciprocation, the front of the right foot 
descending at the same time the front of 
the left foot ascends. During these move- 
ments the heels remain fixed, and the knees 
are held rather stiff. 

No. 173. — Secojid Movements — Right. These movements are 
described with the heels, the toes remaining fixed, while the remainder 
of the foot is raised and lowered as energetically as possible, as in 
Fig. 85. The knees will move freely. The remaining commands, and 
the number and order of the movements, are the same as in No. 112. 




LEG AND FOOT EXERCISE. 



211 



No. 174. — Third Movements — Toes. At tMs command, the 
fronts of both feet will be elevated and lowered four times simul- 
taneously, as in Fig. 84 ; then, at the command, 
Heels, both heels will be raised and lowered four 
times simultaneously, as in Fig, 85 ; and finally, at 
the command, Alterxate, eight of these double 
motions will be made alternately, the fronts of both 
feet being first raised and lowered, and then the 
heels. This class of movements is executed in slow 
time, both the upward and the downward motions being made on 
even numbers, or accented syllables. 



Second Position. 

No. lib —Second — Position. At this command, the student 
will take the position of Fig. 86. 




No. 176. — First Movements — Right. Tlie remaining commands, 
and the number and order of the motions, are the same as in ISTo. 172, 
the movements being made in the position of Fig. 86. The Second 
Movements of this position correspond to J^o. 173 ; and the Third, 
to No. 174. 




212 



CALISTHENICS. 



Third Position, 

No. 177. — Third — Position. At this command, tlie student 
will take the position of Fig. 87. The commands, and the number 
and order of motions of the three classes of movements of this posi- 
tion, correspond respectively to those of the First Position, p. 210. 
After the movements have been executed with the right foot forward, 
as in Fig. 87, at the command, Change, the Third Position will be 
taken with the left foot forward, and the three classes of movements 
will be repeated. 



SECOND SERIES. 



First Position. 



No. 178. — The instructor will command : 
cise ; 2. Second Series; 3. First — Position 

No. 179. — At the last command, the 
student will take the position, by slightly 
elevating the toes and turning quickly on 
the heels, so that the inner parts of the 
feet touch each other from the heels to 
the toes, as in Fig. 88. 

No. 180. — First Movements — Right. 
At this command, the right foot will turn 
on the heel to the right, the point of the 
foot describing the arc a b in Fig. 88, so 
as to form a right-angle front with the 
heels, and recover the commencing posi- 
tion four times ; then, at the command, 
Left, the left foot will make four corre- 
sponding outward motions from the posi- 



1. Leg and Foot Exer- 



tion, describing the arc a c ; and 



finally, 



at the command. Alternate, eight out- 
ward motions will be made with the feet 
alternately, the right foot first describing 
the arc a b and recovering the commencing position, and then the 
left foot describing the arc a c in like manner. 




LEG AND FOOT EXERCISE. 



213 



No. 181. — Second llovements — Right. The remaining com- 
mands, the number of motions, and the order in which they are made, 
are the same as in l^o. 180 ; but the toes are kept in position, and 
the heels are turned out sidewise as far as possible. 

No. 182. — Third Movements — Toes. At this command, the 
points of both feet will be turned out simultaneously to the sides, 
describing the arcs a b and a c, Fig. 88, and brought back to the 
commencing position four times ; then, at the command. Heels, four 
outward motions will be made with the heels simultaneously ; and 
finally, at the command, Alternate, 
eight outward and inward motions will 
be made alternately, the points of both 
feet being first turned out to the sides 
and brought back to the commencing 
position, and then the heels. The 
time is marked by the patter of the 
toes, or the heels, on every outward 
or inward motion. 

Second Position. 

No. 183. — At the command, Sec- 
ond — Position, the position will be 
taken by first rising on the toes and 
springing into the air, and then in- 
stantly spreading the feet, dropping 
down upon the toes, and planting the 
feet twice the length of the student's 
foot apart, as in Fig. 89. On every 
motion from, as icell as to, this posi- 
tion, the foot is brought to the floor. Fig. 89. 

No. 184. — First Movements — Right. At this command, the 
front of the right foot is raised, and tlie foot is turned on the heel to 
the right, describing the arc a b, Fig. 89, and returned to the com- 
mencing position four times. The front of the foot beats the floor 
every time it arrives at the points b and a. At the command. Left, 
the left foot will describe the arc c d, in like manner, and recover the 
commencing position four times ; then, at the command, Alternate, 
four of these outward motions will be made with the feet alternately, 
the risrht foot first describino; the arc a b and recoverino; the com- 




214 



CALISTHENICS. 



mencing position, and then the left foot, the arc c d ; and finally, at 
the command, Both, the arcs a b and c d will be described with both 
feet simultaneously, and the commencing position regained, four times. 

No. 185. — Second Movements. — Kight. The remaining com- 
mands, and the number and order of the motions, are the same as in 
No. 184 ; but this class of movements is executed by turning the feet 
in, thus describing the arcs a e and c e, Fig. 89. 

No. 186. — Third Movements — Out. At this command, both 
feet simultaneously turn on the heels to 
the right and left, describing the arcs 
A B and c D, Fig. 89, and regain the 
commencing position four times ; then, 
at the command, In, four corresponding 
simultaneous motions are made by turn- 
ing the feet in, thus describing the arcs 
A E and c E ; then, at the command. 
Alternate, four combined motions from 
the position are made alternately, the 
toes first describing simultaneously the 
arcs A B and c d, and recovering the 
commencing position, and then the arcs 
A E and c E ; and finally, at the com- 
mand, Both, eight double motions will 
be made, the toes first describing the . 
arcs A B and c d simultaneously, and 
then the entire arcs b a e and doe, 
only stopping at the points a and c on 
the eighth motion. 

No. lSl.—Fou7ih,F:fth, and Sixlh 
Movements. These three classes of 
movements, which are described with 
the heels, as represented iu Fig. 90, 
correspond respectively to those of 
Nos. 184, 185, and 186, the fourth, be- 
ing executed in the arcs a b and c d, Fig. 90 ; the Ji/th, in the arcs 
A E and c E ; and the sixths in the combined arcs a b and c d, a e 
and c E. During the execution of these movements, the toes v/ill 
remain fixed at the points a and c, Fig. 89. 




Fift. 91. 



LEG AND FOOT EXERCISE. 



215 



No. 188. — Seventh Movements — Right. The seventh class of 
movements from the position of Fig. 89, is executed by turning the 
whole body on both heels to the right, describing simultaneously the 
arcs A B, A B, Fig. 91, and recovering the commencing position four 
times ; then, at the command, Left, four corresponding motions from 
the position will be made to the left ; then, at the command, Alter- 
nate, four motions will be made from the position alternately, first 
to the right and back to the original position, and then to the left ; 
and finally, at the command. Both, eight motions will be described 
the entire distance from right to left, the first motion commencing 
from, and only the eighth terminating at, the commencing position. 

No. 189. — Eighth Movements — Right. The remaining com- 
mands, and the number and order of 
the motions, are the same as in No. 
188 ; hut the body turns on the toes, 
the heels describing the arcs a b and 
e D, A D and c e. Fig. 92. 

Third Position. 

No. 190.— T/imtZ— Position. At 
this command, the student will take the 
military position, p. 120, which only dif- 
fers from that of Fig. 93 in having the 
left heel brought down beside the right. 

No. 191. — First Movements (Fa- 
cings) — Right. Facings are those 
movements by which the body turns 
upon its longitudinal axis so as to 
change its front direction. Each calis- 
thenic facing consists in the body being 
turned to the right (describing one- 
fourth of a circle, as represented by the 
dotted part of Fig. 93) on the left heel, 
or to the left on the right heel, with 
the body kept perfectly upright. The 
same heel that is used as a pivot to 
describe a side facing, is the one upon which the body is turned to 
the front, or to the commencing position. Both feet will tell the 
10* 




Em. 93. 



216 



CALISTHENICS. 



time as they come into a new position, or resume the commencing 
one. At the command, Right, the student will raise the right foot 
slightly — just enough to clear the floor — turn on the left heel (raising 
the toes a little) until he faces exactly to the right ; then, at the 
same instant, he will bring the toes of the left foot down, and the 
right foot to its place beside the left ; heels together and toes turned 
out, as at first. The student will immediately regain the commencing 
position at the command. Front, or without a word of command. 
The facing to the right will be executed four times ; then, at the 
command. Left, four corresponding facings will be executed to the 
left ; and finally, at the command. 
Alternate, eight facings will be 
executed alternately, first to the 
right and back to the front, and 
then to the left. 

No. 192. — Second Movements 
( Circles). At the command, Right, 
the student will describe two com- 
plete circles, each one of which is 
done in four facings or motions, the 
first being to the right, the second 
to the rear, the third to the rear of 
the right, and the fourth regains 
the commencing position ; then, at 
the command. Left, two inverse 
circles will be described to the left ; 
and finally, at the command. Alter- 
nate, four alternate circles will be 
described in like manner, the first 
to the right, the second to the left, 
&c. The motions commencing to 
the right will be made on the left 
heel, and those to the left, on the Fia. 94. 

right heel. 

No. 193. — Third Movements {About) — Face. Unlike military 
facings, the full face to the rear will be executed on but one heel at a 
time. The remaining commands, and the number and order of these 
circles, are the same as in No. 192 ; hut every facing or motion de- 
scribes one-half of a circle. The motions of this class are only made 




LEG AND FOOT EXERCISE. 



217 



on even numbers or accented syllables. At the termination of each 
motion, the fronts of the feet come down with a slight stamp, to 
mark the time. In executing the facings, the student will keep the 
body erect, the arms from swinging, and the head firm in its place, 
without looking down. 

Fourth Position. 

No. 194. — Fourth — Position. At this command, the student 
will take the fourth position, which only differs from the military 
position, p. 120, in placing the heels two and one-half times the 
length of the student's foot apart, and shutting the hands. 

No. 195. — First Movements — Right. The first and only class 
of movements from this position is formed by the combined action 
of nearly all the muscles of the body. At the command, Right, a 
facing is executed by simultaneously turning on both heels to the 
right, straightening the left leg, throwing the whole weight of the 
body on the right knee, energetically raising both arms and projecting 
the chest, as represented in Fig. 94. First, this outward motion is 
made to the right, and the commencing position resumed four times ; 
then, at the command. Left, four corresponding motions from the 
position are made to the left ; then, at the command, Alternate, 
four of these outward motions from the position are made to the 
right and left alternately ; and finally, at the command. Both, eight 
motions are made in combination from side to side, as represented in 
Fig. 94, the first commencing /rom, and only the eighth terminating 
at, the commencing position. 



THIRD SERIES. 

First Position. 

No. 196. — The instructor commands: 1. Leg and Foot Exer- 
cise; 2. Third Series; 3. First — Position. 

No. 197. — On the word. Position, the student will take the 
position of Fig. 95, in which the weight of the body is sustained by 
the point of the left foot, and the right leg and point of the foot 
are held /out to the right, both knees being kept rather stiff. This 



218 



CALISTHENICS. 



position, however, is taken in four directions during the execution of 
the movements. 

No. 198. First Movements^— 

Right. At this command, the student 
will raise and sink the front of the ex- 
tended foot as far as possible, as in 
Fig. 95, eight times. On the eighth 
upward motion, the command, Left, 
will be given, and the student will in- 
stantly take his position to the left, 
by sustaining the weight of the body 
upon the point of the right foot, and 
extending the left leg and foot to the 
left, when eight upward and downward 
motions will be made with the front of 
the left foot. If the student find it 
too difficult, he will not at first be re- 
stricted to the iDoint of the sustaining 
foot. In connection with the move- 
ments of this position, which take place 
simply by means of the ankle joint, 
there should be also an energetic bending and stretching of the toes. 
Thus the muscles of the shin and calf, as well as the lower part of 
the thigh, and the foot, are brought into play. 

No. 199. — Second Ilovements (Front) — Right. Tlie remaining 
commands, and the number, order, and kind of motions, are the same 
as in No. 198 ; but first the right leg, and then the left, are extended 
front, inclining toward the floor at an angle of nearly 45 degrees, in- 
stead of to the sides. 




' Movements. — At first, the stu- 
dent will find it ditficult to keep liis 
balance while executing the move- 
ments of this Series, especially those 
of No. 200 ; but he must learn to do 
so without leaning upon any thing, 
because otherwise a great part of the 
effect of the compound working is 
lost. This very endeavor to keep 
one's balance and the upright posi- 
tion of the body, calls into action 



many muscles, and is one of the aims 
of the exercise. The movements sice- 
wise, and forward and backward, re- 
quire the working of the muscular 
parts all round, and from all sides of 
the hips. They also have an effect 
upon all the muscles of the legs and 
feet ; for the leg. apparently so im- 
movable, has enough to do to main- 
tain the equilibrium of the body, 
menaced from so many sides. 



LEG AND FOOT EXERCISE. 



219 



Second 

No. 200. Second— Fosi- 

Tio::. This position only differs 
" from the miUtary position, p. 120, 
in havino; the ris^ht foot raised 
about two inches from the floor, 
and the hands fixed upon the 
hips, with the thumbs front. 

No. 10\—Fir8l Ifovements 
— Right. At this command, the 
right leg is extended sidewise to 
the point A, Fig. 96, from whence 
it describes the arc a b four 
times ; then, at the command, 
Change, the right foot is brought 
back into position, and the left 
leg is extended left to the point 
B, from which it describes the 
arc B a four times ; then, at the 
command, Change, the position 
of Fig. 96 is resumed, and the 
right leg describes the arc a b 
behind the left leg four times ; 
and finally, the command Change 
is again given, and the left leg 
describes the arc b a behind the 
right leg four times from the 
point B. 

No. 202. Second Move- 
ments — Right. At this com- 
mand, the right leg is extended 
sidewise to the point a, Fig. 96, 
from whence it describes the arc 
A B four times, in front of the 
left leg ; four times, behind the 
left leg ; and finally, eight times 
alternately, first in front of the 
left leg, and then behind it. At 




Fig. 97. 



220 



CALISTHENICS. 



the command, Lteft, the left 
leg is extended to the point 
B, from whence it describes 
the same number of corre- 
sponding motions. 

No. 203.— Third Move- 
ments — Right. With both 
feet in position at a, Fig. 9T, ;- ..r- 
at this command the right , ' . . L 
foot will be thrown directly 
forward to the point b, and 
back to the commencing po- 
sition, four times ; then the 
same foot will describe the 
arc A c, and recover the com- 
mencing position four times ; 
and finally, this foot will be 
thrown forward to the point 
B, from whence it will de- 
scribe the entire arc bag, 
without bending either leg, 
eight times. At the com- , 
mand. Left, the right foot 
will sustain the weight of the ^ 
body, and the left leg and / 
foot will describe the same / 
number of corresponding mo- 
tions, in like order. i 

Third Position. 

No. 204.— At the com- I 

mand, TJm^d — Position, the / | i ) 

students take the position of I K I 

Fig. 98, in which the weight I \i\ 

of the body is sustained by I \ 

the toes. V-^^A 

No. 20b —First Move- ^^^^^^ 

merits — Right. During the Fig. 99 



LEG AND FOOT EXERCISE. 



221 



execution of these movements, both legs will be kept straight. At 
the first command, the student will raise the right leg sidewise so as 
to form a right angle, as in Fig. 98, and regain the commencing 
position four times ; then, at the command, Left, the left leg will 
describe four corresponding motions from the position to the left ; 
and finally, at the command. Alternate, eight of these outward mo- 
tions will be made to the right and left alternately. 

No. 206. — Second Movements — Kight. The number and order 
of these movements are the same as in No. 205 ; but the motions 
are made directly front, as represented in Fig. 99. 



FOURTH SERIES. 

First Position. 

No. 207. — The instructor commands : 1. Leg and Foot Exer- 
cise ; 2. Fourth Series ; 3. First — Position. 

No. 208. — At the third command, the 
student will take the First Position, in 
which the weight of the body is supported 
chiefly by the point of the left foot, the 
point of the right foot being placed upon 
the floor at a moderate distance to the 
right of the left foot, as in Fig, 100. 

No. 209. — First Movements — Right. 
At this command, the right leg first will 
swing round in front of the left leg, the 
toes of the right foot being placed upon 
the floor at the point b, as represented by 
the dotted part of Fig. 100, and recover 
the commencing position at a four times ; 
then the same number of corresponding 
motions will be made by the right leg behind 
the left, the point of the right foot touching 
the floor only at b and a ; and finally, eight 
of these motions will be made from the 
point A alternately, the first in front of the 
left leg, the second behind it, &c. At the command. Left, the 
position will be taken to the left, the weight of the body resting 




222 



CALISTHENICS. 



chiefly on the point of the right foot, and the left leg will describe 
the same number of corresponding motions around the right leg, 
and in like order. 

"No. 210. — Second Movements — Right. At this command, from 
the position of Fig. 100, the right leg will swing round front, and 
the toes of the right foot will touch the floor at the point b, from 
whence complete circles around the left leg will be described back 
and front, the toes of the right foot touching every time they arrive 
at the point b. On the eighth motion, at the command. Change, 
the position will be taken to the left, when the left leg will describe 
eight corresponding motions ; and finally, eight of these motions will 
be made with each leg, only touching the floor with the foot that is 
in motion at the command, Chaxge. 

Second Position. 

No. 211. — At the command. Second — Position {Foot Circles), 
the student will take the position of Fig. 101, in which the right 
leg is first extended to the right, and the weight 
of the body supported on the left foot, 

"No. 212. — First Movements — Kight. At 
this command, eight circles will be described 
with the point of the right foot, in the direc- 
tion indicated by the arrow in Fig. 101, and 
then the same number of like circles in a con- 
trary direction ; then, at the command, Change, 
the position will be taken to the left, and the 
left foot will describe the same number of cor- 
responding back and front circles. In executing 
the movements of this position,^ the extended 
leg describes small circles, though the foot cir- 
cles are chiefly fomed by the motion of the 
ankle-joint, and an energetic bending and stretch- 
ing of the toes. 

Wo. 213. — Second Movements. The remain- 
ing commands, and the number and order of the 
movements, are the same as in No. 212 ; but 
the position is taken in front, first with the right leg and then with 
the left, and the circles are described to the right and left. 




LEG AND FOOT EXERCISE. 



223 



Third Position. 

No. 214.— At the 

command, Third — Po- 
sition, the student will 
take the position by ex- 
tending the right leg, 
first to the right, as in 
Fig. 102. 

No. 215. Fird 

Movemen ts Right. 

The remaining com- 
mands, and the number, 
order, and directions of 
the two classes of move- 
ments of this position, 
are the same as those 
of the Second Position 
of this Series. In exe- 
cuting these movements, 
both to the sides and in 
front, the extended leg 
will be kept perfectly 
straight, and the circles 
will be made as high and 
large as possible, as rep- 
resented in Fio's. 102 
and 103. The trunk, 
also, will be kept as im- 
movable as possible. 
The student will prac- 
tice these movements 
frequently, and become 
as perfect in their exe- 
cution as possible, as 
they render freer the 
play of the legs in their 
sockets, and set in ac- 
tive motion all the mus- 




PlG. lU^. 



224 



CALISTHENICS. 



cles of the trunk, especially those of the back and loins, as well as 
the allotment muscles of the legs. 



FIFTH SERIES. 

First Position. 

TTo. 216. — The instructor will command : 1. Leg and Foot Ex- 
ercise; 2. Fifth Series; 3. First — Posmox. 

No. 217. — At the thkd command, the student will take the posi- 
tion of Fig. 104, which only differs from the military position, p. 120, 
in supporting the weight of the body with 
the point of the right foot, the left foot 
being elevated about two inches from the 
floor. 

No. — First Movements. The 

first and only class of movements is exe- 
cuted by hopping in place, first four times 
on the point of the right foot ; then four 
times on the point of the left foot ; then 
eight times in alternate double hops, the 
first and second being on the right foot, 
the second and third on the left, &c. ; and 
finally, sixteen times by a reciprocating 
motion, the point of one foot passing to 
the floor at the same time the other springs 
from it. The instructor will at first em- 
ploy the commands of execution, Right, 
Left, Alternate, Reciprocate, while the 
students count, using the first variety on 
p. 144. These leaps are made by springing 
directly up into the air without spreading the feet, or swaying the 
arms or the upper part of the body. The trunk is kept vertical 
throughout the exercise. 

Second Position. 

No. 219. — Second — Position. At this command, the position 
will first be taken as represented in Fig. 105, by extending the right 
leg to the right, and supporting the weight of the body upon the 




LEG AND FOOT EXERCISE 



very point of the left foot, both 
legs being kept straight and ingid 
during the entire exercise, and 
the front of the extended foot 
being bent down as much as pos- 
sible. 

No. 220.— First Movements. 
First spring into the air, and 
alight on the toes of the left foot 
sixteen times ; then, at the com- 
mand, Change, take the position 
to the left, and hop from the 
point of the right foot sixteen 
times. — Second Movements. The 
position with each leg is taken to 
the front for this class, as in Fig. 
106, the student first hopping 
sixteen times on the point of the 
left foot, and then on the right. — 
In executing the Third Move- 
ments, the position for each leg- 
is taken to the rear, as repre- 
sented by the dotted part of Fig. 
106. Sixteen hops are taken on 
the point of each foot. Students 
will first practice these exercises 
in connection with counting, be- 
ing careful not to leap too high, 
as a hop must be done on every 
number. 



Third Position. 

ITo. 221. — At the command, / 
Third — Position, the student will 
take the position of Fig. lOt, in ■ 
which the entire weight of the / 
body is supported by the points 
of the feet. 



226 



CALISTHENICS. 



No. 222. — First, Second, and Third Mo- 
The commands, and number and order of 
motions that constitute these three classes 
of movements, correspond respectively to 
those of Nos. 191, 192, and 193 ; but the 
facings differ in being described on the toes 
by leaping, as in Fig. 101. Every leap is 
executed m one time and two motions. 
The student bends the knees, the weight of 
the body resting on the points of the feet, 
and instantly, by a sudden straightening of 
the knees and a vigorous action of the toes, 
springs into the air, and, having described 
the prescribed portion of a circle, alights 
upon the toes, as shown by the dotted part 
of Fig. lot. In executing the Third Move- 
ments, slow time will be employed, as one 
half of a circle is described at each leap. 

No. 223. — Fourth Movements — Right. 
At this command, from the position of Fig. 
lot, the student will spring into the air, 
crossing the right leg in front of the left, 
alighting upon the points of the feet, as in 
Fig. 108, and immediately regain the com- 
mencing position four times ; then, at the 
command. Left, the legs will be crossed in 
like manner, the left in front of the right, 
and the commencing position regained four 
times ; then, at the command, Alterxate, 
the legs will be crossed and the commencing 
position regained four times alternately ; 
and finally, at the command, Reciprocate, 
eight leaps will be made, accompanied with 
a reciprocal crossing of the legs, the legs 
crossing each other on every leap, the right 
leg in front, as in Fig. 108, on the first 
leap, the left on the second, &c., only 
resuming the commencing position on the 
eighth leap. 



LEG AND FOOT EXERCISE. 



227 



SIXTH SERIES. 

First Position. 

No. 224. — The instructor will command : 1 . Leg and Foot Exer- 
cise ; 2. Sixth Series; 3. First — Positiox. 

No. 225. — At the third command, the student will take the 
position of Fig. 109, in which the whole weight of the body is sup- 
ported by the toes. 




B A c F D E 



Fig. 109. Fig. 110. 

No. 226. — First Movements {Sliding Toes). All the move- 
ments of this position are executed without lifting the points of the 
feet from the floor or touching the heels. First, at the command, 
Right, the point of the right foot describes the line a b, Fig. 109, 
and recovers the commencing position four times ; then, at the com- 
mand, Left, the point of the left foot describes the line a c, and 
recovers the commencing position four times ; then, at the command, 
Alternate, four of these motions from the position are made with 



228 



CALISTHENICS. 



the feet by alternation ; and finally, at the command, Both, the lines 
A B and A c are described simultaneously, and the commencing posi- 
tion regained four times. 

No. 227. — Second and TJiird Movements. The commands of 
execution are, Right, Left, Alternate, Reciprocate. The Seco7id 
Movements are made by sliding the toes directly front in the line d e, 
Fig. 110. The right foot first passes to e, and regains the com- 
mencing position four times ; then the left foot ; then four of these 
motions from the position are made alternately ; and finally, seven 
front motions are made by reciprocation (four with the right foot and 
three with the left), the left foot being advanced at the same time 
the fight foot is regaining the commencing position, and conversely. 
Third Movements. These only differ from the second class of move- 
ments in being executed to the rear in the line d f, Fig. 110. 




Fig. 111. 



No. 228. — Fourth, Fifth, and Sixth Movements. These three 
classes of movements correspond respectively to the First, Second, 
and Third, the Fourth being executed in the lines a b and a c, Fig. 
109 ; the Fifth, in the hne d e. Fig. 110 ; and the Sixth, in the line 



LEG AND FOOT EXERCISE. 



229 



1) F. The difference consists in executing the movements by lifting 
the feet and bearing them over the spaces, touching the toes only at 
the points b, c, e, and f, instead of sliding them. 

Second Position. 

No. 229. — At the command, Second — Position, the student will 
take the position of Fig. 111. 

No. 230. — First Movements (Charges). In executing charges, 
the student, with one foot fixed, takes strides as great as possible 
without preventing an easy recovery of the commencing position, in 
the direction prescribed. The leg whose foot remains in position 
must be kept rigid and straight, and so tui^ned upon the heel that 
the two feet are at right angles. This class of movements is done by 




charging side wise, first to the .right with the right leg, as represented 
by the dotted part of Fig. Ill, and regaining the commencing posi- 
tion four times ; then a charge is done to the left with the left leg, 
and the commencing position regained four times ; and finally, eight 
charges are made to the right and left alternately. The commands 
of execution are, Right, Left, Alternate. 



230 



CALISTHENICS. 



No. 231. — Second Movements. These moTements only differ 
from No. 230 in being made directly front, left leg and foot first. 

No. 232. — Third Movements. The remaining commands, and 
the number and order of the motions, are the same as in No. 230 ; 
but the charges are made front, bearing toward the right and the 
left, at an angle of 45 degrees. 

No. 233. — Fourth Movements. These movements are formed 
by combining facings and charges. The student, turning on the right 
heel, charges to the right with the left leg, thus executing a facing, 
as represented by the dotted part of Fig. 112, and recovers the com- 
mencing position four times ; then four corresponding charges are 
made to the left with the right leg ; and finally, eight of these charges 
are made to the right and left alternately. — The Music best adapted 
to the four classes of movements immediately preceding, will be found 
on pp. 189, 190, 208, and 209. 



SEVENTH SERIES. 

First Position. 

No. 234. — The instructor will command : 1. Leg and Foot Exer- . 
cise; 2. Seventh Series ; 3. First — Position. 

No. 235. — At the last command, the student takes the position 
of Fig. 114, which only differs from the military position, p. 120, in 
supporting the weight of the body upon the points of the feet. 

No. 236. — First Movements. At the command. First Move- 
ments— Jjeft ; or, Sidewise, Mark Time — March, the student, facing -' 
the instructor, and standing in the position of Fig. 114, at the point 
A, Fig. 113, will step to the left, first planting the toes of the left 
foot at the point b, and lightly touching the side of the left foot with 
the right ; then he will plant the toes of the right foot at the point c, 
slightly touching the right foot with the left, thus describing the 
motion shown in Fig. 113. This motion will be continued, without 
making progress forward, until thirty-two steps have been taken. At 
the command, Halt, or on the thirty-second step, the commencing 
position will be resumed at the point a. These steps will be taken at 
the rate of about ninety in a minute. While the students are count- 
ing to mark the time, as is prescribed on p. 144, in order to insure 



LEG AND FOOT EXERCISE. 



231 



uniformity in the order of taking the step, the instructor will repeat 
the words, Left — Right — Left— Right, &c. When this swaying 
movement is described in columns, tlie students will cover square, 
that is, keep exactly behind those in the file front. 

No. 237. — Second llovements. As soon as the student is 
sufficiently established in the principles of this step, at the command, 
Second Movements — Left; or, Class, Forward — March, he will 
advance with this swaying motion, first with the left foot at an angle 
of 45 degrees to the left, planting fat the left foot, and bringing the 
right foot to the left until it touches the left foot, then the right 
foot is thrown forward, bearing to the right at an angle of 45 
degrees, and planted in like manner. When the instructor shall wish 
to arrest the march, he will command. Class — Halt. At the second 
word of this command, which will be given at the instant when either 
foot is coming to the ground, the foot m the rear will be brought up 
and planted by the s'lde of the other. 




No. 238. — Third Movements. At the command, Thii'd Move- 
ments — Left ; or, On Toes, Mark Time — March, the left leg is 
first thrown forward as if to take a step, as shown by the dotted leg 
11 " . 



232 



CALISTHENICS. 



of Fig. 114, without inclining the body forward in the leant, and 
brought back to its place, and then a corresponding motion is made 
with the right leg. These motions are continued without making 
progress until thirty-two steps are taken, or the command. Glass — 
Halt, is given. The instructor will frequently require the student 
to execute these movements on the heels, without touching the fronts 
of the feet. The command is, On Heels, Mark Time — March. — 
When the preparatory command, On Toes, or On Heels, is not given, 
the student will mark time from the military position, p. 120, plant- 
ing the advanced foot flat every time it recovers the commencing 
position. As the feet are thrown front in executing these movements, 
they will be bent at the ankles so that the toes shall hang forward. 

No. 239. — Fourth Movements. After the student has learned 
to mark time perfectly , remembering always to start with the left foot 
first, at the command, Fourth 3iovements — Left ; or, Class, For- 
ward ; Common (or Quick) Time — March, he will smartly, but 
without a jerk, carry straight forward the left foot twenty-eight 
inches from the right (twenty inches for small boys and girls), the 
sole near the floor or ground, the ham extended, the point of the foot 
a little depressed, and, as also the knee, slightly turned out ; he will, 
at the same time, throw the weight of the body forward, and plant 
flat the left foot, without shock, precisely at the distance where it 
finds itself from the right when the weight of the body is brought 
forward, the whole weight of which will now rest upon the advanced 
foot. The student will next, in like manner, advance the right foot 
and plant it as above, the heel twenty-eight inches from the heel of 
the left foot, and thus continue to march without crossing the legs, 
or striking one leg against the other, without turning the shoulders, 
and preserving always the face direct to the front. At the command, 
On Toes (or Heels) — March, without arresting the march, the stu- 
dents will march on their toes or heels without touching other por- 
tions of the feet. In common time, the student marches at the rate 
of ninety steps in a minute ; in quick time, at the rate of one hundred ' 
and ten steps per minute. — The best Music for marches will be found 
on pp. 152, 153, 158, 161, and 20T. 

Second Position. 

No. 240. — Second — Position In this position, the arms are 
bent, with the elbows to the rear, the forearms against the waist. 



LEG AND FOOT EXERCISE. 



233 



the hands closed, and the nails toward the body, as in Fig. 115 ; but 
the legs, when not in motion, are not bent at the knee as here repre- 
sented. The trunk is inclined forward, the head slightly back. 

No. 241. — First Movements [Trotting Exercise) — Left. At 
this command, the left leg will be thrown hack, the weight of the 
body being supported on the point of the right foot, and brought to 
the commencing joosition, as represented by the 
dotted leg of Fig. 115 ; then a corresponding 
motion will be made with the right leg, and 
these alternate motions will be continued until 
thirty-two steps shall have been taken, at an 
average rate of one hundred and twenty to the 
minute. During these movements, the joints of 
the knee and ankle must be quite free and elas- 
tic, bending as in the common motion of trotting, 
though no progress is made. The degree of in- 
tensity of the movement can be regulated at 
will, by raising the foot to any desirable height. 

No. 242. Second 3Iovements {Double 

Quickstep). At the command, Second Move- 
ments — Left ; or, Mark Time, Double Quick — 
March, the student — with the feet in the mili- 
tary position, p. 120, and the arms in the posi- 
tion of Fio;. 115,— will raise to the front his left 
leg bent, in order to give the knee the greatest 
elevation, the part of the leg between the knee and the instep verti- 
cal, the toe depressed ; he will then replace his foot in its former 
position ; with the right leg he will execute what has just been pre- 
scribed for the left, and the alternate movement of the legs will be 
continued until thirty-two steps are taken, or the instructor com- 
mands. Class — Halt. The rate of swiftness of this step is from 
one hundred and sixty-five to one hundred and eighty per minute. 

No. 243. — Tliird Movements. These movements only differ 
from those of No. 242 in making progress from the spot. At the 
command, Third Movements — Left ; or. Glass Forward, Double 
Quick — March, the student will carry forward the left foot, the leg- 
slightly bent, the knee somewhat raised — will plant his left foot, the 
toe first, from thirty to thirty-three inches from the right, and with 
the right foot will execute what has just been prescribed for the left. 




234 



CALISTHENICS. 



This alternate motion of the legs vfill take place by throwing the 
weight of the body on the foot that is planted, and by allowing a 
natural, oscillatory motion to the arms. The cadence of this step 
may be increased to more than one hundred and eighty per minute, 
thus forming an exercise in running^ the only difference consisting 
in a greater degree of swiftness. In executing the movements of 
this Series, the students should breathe through the nose, keeping 
the mouth closed. 



IX. 

COMBINED EXERCISES. 

FIRST SERIES. 

First Position. 

No 244. — Thus far, in Calisthenics, we have given one hundred 
and thirty elementary positions, and two hundred and fifty classes of 
movements, which require about seven thousand separate motions in 
their execution. While the rule of Permutation is not strictly ap- 
plicable in determining the number of combinations that may be 
formed from these elementary positions and movements, it is sulti- 
ciently so to prove that they are almost innumerable. After the 
elementary movements are mastered, combined ones may be executed 
without previous practice, simply by employing appropriate words of 
command. The few examples that follow are designed to illustrate 
the mode of forming these exercises, both by a combination of two 
or more elementary movements, and by the combined efforts of two 
students. The ingenious instructor will not find it difficult to form 
hundreds of new combinations in like manner. 

No. 245. — The instructor will command: 1. Combined Exer- 
cises; ^. First Series ; 3. Chest Exercise ivith Charges; 4. First — 
Position. 

No. 246. — At the fourth command, the student will take the 
position of Fig. 116. — Execute the movements of this position to the 
Music on p. 189. 



236 



CALISTHENICS. 



Mo. 247. — First Movements — Right. At this command, the 
student will charge to the right, as represented Jby the dotted part of 
rig, 116, at the same time describing an arc with the right arm to 
the right, inclining down at an angle of 45 degrees, terminating as 
represented by the dotted arm a, and recover the commencing posi- 
tion four times ; then, at the command, Left, four corresponding 
combined outward motions will be made to the left ; and finally, at 
the command, Alternate, eight of these motions from the commen- 
cing position will be made to the right and the left by alternation. 

Mo. 248. — Second and Third. Movements. These two classes 
of movements only differ from JSTo. 24 1 in the directions of the mo- 
tions from the chest, those of the second being directly out to the 
sides, as shown by the dotted arm b, and those of the third sidewise 
and up, as represented by the dotted arm c. 

Second Position. 

Mo. 249. — At the command, Second — Position, the student will 
take the position of Fig. lit, as described in No, t, p. 138. — Exe- 
cute the movements of this position to the Music on p. 190. 

Mo. 250. — First, Second, and Third Movements. The remain- 
ing commands, and the number and order of motions of these three 
classes of movements, are the same as those of the first position ; 
but the charges and arm motions are made directly front, the right 
arm and left leg first, as represented by the dotted part of Fig. 117, 
the first class of arm movements being made directly down ; the 
second, directly front ; and the third, directly up. 

Third Position. 

Mo. 251. — At the command. Third — Position, the student will 
take the position of Fig. 118 ; see, also. Fig. 15. — Use Part Fourth, 
p. 208, in connection with the movements of this position. 

Mo. 252. — First, Second, and Third Movements. These move- 
ments only differ from those of the First Position in having the 
charges made to the front, inclining to the right and the left at an 
angle of 45 degrees, see Fig. 118, the first class of arm movements 
from this position being made front and down, at an angle of 45 
degrees ; the second, directly front ; and the third, front and up, at 
an angle of 45 degrees ; see, also, dotted arms of Fig. 15. 



238 



CALISTHENICS. 



Fourth Position. 

No. 253. — At the command, Fourth — Position, the student will 
take the position of Fig. 119 ; see, also. Fig. 16. — Use Part Fifth, 
p. 208, with the following class of movements. 

No. 254. — First Movememts — Right. The remaining commands, 
and the number, order, and direction of the charges of the first and 
only class of movements from this position, are the same as in No. 
233 ; but in every charge and facing to the right, the right arm is 
carried front and up at an angle of 45 degrees, and the left arm back 
and down at the same angle, as represented in the dotted part of 
Fig. 119. In charging and facing to the left, in like manner the left 
arm is carried front and up, and the right one back and down. 



E C O N D SERIES. 



V;-; C 



First Position. 

No. 255. — The instructor will command : 1. Combined Exercises ; 
2. Seco7id Series; 3. Chest 
Exercise vnth Marching; 
4. First — Position. 

No. 256.— At the fourth 
command, the student will 
take the position of Fig. 120; 
see, also, No. 2. ? 

No. 2bl.— First, Sec- 
ond, and Third Movements. 
The first class of movements 
from the chest is made down 
and back, at an angle of 45 
degrees, as represented by 
the dotted arm a, Fig. 120 ; 
the second, directly out and 
back horizontally, as shown 
by the dotted arm b ; the 
third, in the direction of the 
dotted arm c. The remain- 
ing commands, and the num- ^^^^^^^ Fm. 120. 




COMBINED EXERCISES. 



239 



ber, order, aud kind of motions, are the same as those of Nos. 4, 5, 
and 6, pp. 136 and 13 1 ; but these movements are accompanied with 
marching, as described in No. 239. The arm or arms luill be out 
at the greatest distance from the chest every time the left foot is 
planted, and the commencing jjosition will be regained every time 
the right foot is planted. 

No. 258. — The Chest Exercise of the second, third, and fourth 
Positions will be executed as prescribed on pp. 138 and 139, com- 
bined with marching, as explained in No. 25 1. All of the Shoulder 
Exercise, and most of the movements in Elbow, and Arm and Hand 
Exercise, may also be executed in combination with marching. 



THIRD SERIES. 

First Position. 

No. 259. — The instructor will command: 1. Combined Exer- 
cises; 2. Third Seines ; 3. First — Position. 




Fig. 121. 



No. 260. — Third Series. The exercises of this Series are per- 
formed by the combined efforts of the students, arranged in couples. 
11* 



240 



CALISTHENICS. 



The students will number as prescribed on p. 127, the ones and twos 
forming partners. Preparatory to this exercise, at the command, 
Tivos, one pace forward — March, the twos take a step forward 
of about thirty inches, and join heels, as in the military position ; 
then, at the command, Twos, About — Face, the twos will turn to 
the right on the left heel, describing one-half of a circle, as in No. 
193, and face the ones. 

No. 261. — At the third command of No. 259, the two ranks 
will take the position of Fig. 121, the right feet being placed side by 
side, the right legs bent at the knee, the left legs straight, the feet 
of each student at right angles to each other, the left hands fixed 
upon the hip, the right arm of the ones bent as much as possible and 
held firmly against the right side, and the right hands clasped at 
arm's-length from the twos, as shown in Fig. 121. 

No. 262. — First Movements. These morements are executed 
by first forcing the extended arms of the twos into the position of 
the ones, as in Fig. 121, and then forcing the extended arms of the 
ones back to the commencing position sixteen times. In executing 
these flexions, the arms are held snugly by the sides, the elbows 
being carried directly back so as to graze the waist, and a slight 
resistance is offered by the extended arm. The greater the resist- 
ance offered, the more effective the movements become. 

No. 263. — Second Movements. At the command. Change, the 
position will be taken -with the left legs advanced, the right hands 
fixed upon the hip, and the left hands clasped, the left arm of the 
twos being bent, and the left arms of the ones extended. These 
movements, which correspond to those of No. 262, are made with 
the left arms. 

Second Position. 

No. 264. — At the command. Second — Position, the students 
will take the position of Fig. 122, in which the right legs are ad- 
vanced, the feet of each student being at right angles to each other, 
the arms of the ones are forced back, and the arms of the twos 
are extended their full length. 

No. 265. — First Movements (Parallel Bars). The movements 
of this position correspond to those with parallel vertical bars ||. 
Each student becomes a pair of living parallel bars — a conduit of 
power — a strength-giving implement, more invigorating than any 



COMBINED EXERCISES. 



241 



apparatus of tlie gymnasium. First, at the command, Right, the 
right arms of the ones force back the left arms of the twos into 
a position corresponding to that of the ones, and are immediately 
forced back into the commencing position four times ; then, at the 
command. Left, the left arms of the ones in like manner force back 
the right arms of the twos and regain the commencing position four 
times ; then, at the command, Alterxate, this motion is made, first 
with the right arms of the ones and then with the left, eight times 
by alternation ; then, at the command, Reciprocatf,, fifteen of these 
motions are made from the position by reciprocation (eight with the 




Fig. 122. 



right arms of the ones and seven with the left), the left arms of 
the ones advancing at the same time their right arms are being 
forced into the commencing position by the twos, and conversely ; 
and finally, at the command, Both, the ones force simultaneously 
both arms of their partners into the position of the ones, and regain 
the commencing position eight times. In executing these movements, 
the elbows will be forced directly back, as represented in Fij-. 122. 

No. 266. — Second Movements. At the command. Change, this 
position will be taken with the left legs advanced, the arms of the 
twos forced back, and the arms of the ones extended. This class of 
movements, which corresponds to that of l^o. 265, is commenced by 
the twos. 



242 



CALISTHENICS. 



Third Position, 

No. 267 — At the command, Third — Position, the students will 
take the position by turning back to back and standing erect, the 
ones locking their arms around the arms of the twos, as shown in 
Fig. 123. 




No. 268. — First Movements — Commence. At this command, 
the ones lean forward at an angle of 45 degrees, bending only at the 
hips, lifting the twos, as shown in Fig. 123, and recover the com- 
mencing position four times ; then, at the command. Change, the 
twos execute this forward movement, lifting the ones, and recover 
the commencing position four times ; and finally, at the command, 
Alternate, these forward motions are made eight times from the 
commencing position by alternation, the ones first lifting the twos 
and recovering the commencing position. 

No. 269. — Second Movements; Foricard — March. On the 
word. Forward, the ones will lean forward, hfting the twos, as 
shown in Fig. 123, and, at the last word of the command, they will 



COMBINED EXERCISES. 



243 



march forward in this position until they advance thirty-two steps, 
or the command, Change, is given, when the twos in like manner 
will lift the ones and march back to their original standings. The 
two classes of movements of this position bring into play nearly 
all the muscles and joints of the body, and are specially valuable 
as exercise for the chest, back, shoulders, and elbows. 



FOURTH SERIES. 

First Position. 

No. 270. — The instructor commands: 1. Combined Exercises ; 
2. Fourth Series ; 3. First — Position. 

No. 271.— The students will 
be drawn up in two ranks, stand- 
ing face to face, at arm's length 
from each other. At the last com- 
mand, the twos will take the posi- 
tion of the dotted part of Eig. 124, 
leaning to the left with the head 
supported by the right hand, the 
left hand fixed upon the hip, and 
the lungs fully inflated. 

No. 212.— First Movements— 
Beat. At this command, the ones 
will lean forward and beat smartly 
the right sides of the twos with 
their palms, up and down from the 
waist to the armpit, first giving 
sixteen blows by reciprocation, one 
hand approaching the side at the 
same time the other recedes, and 
then eight double blows, both 
hands ascending and descending Fig. 124, 

simultaneously ; when, at the command. Change, the ones instantly 
take the position, bending sidewise to their right, and the twos in 
like manner beat the left sides of the ones ; then, at the second 
command. Change, the twos instantly take the position, bending 
sidewise to their right, and the ones in like manner beat the left 




244 



CALISTPIENICS. 



sides of the twos ; and finally, at the command, Change, the ones 
instantly take the position, bending sidewise to their left, and the 
twos in like manner beat the right sides of the ones. These blows 
are given with great rapidity in connection with Tocal Exercises, 
pp. 143 to 147, or Music. The best Music for this Series is on 
pp. 160, 161, and 206. 

Second Position. 

No. 273. — At the command, Second — Position, the twos will 
take the position of the sohd part of Fig. 1 24, in which the hands 
are fixed upon the hips, the trunk, bent at the hips, inclines back, 
and the lungs are fully inflated. 

No. 274. — First Movements — Beat. The remaining commands, 
and the number and order of motions, correspond to those of ]S"o. 2T2 ; 
but, at the first command, the ones beat the chests of the twos up 
and down in front ; at the second, the twos in like manner beat the 
chests of the ones in front ; at the third command, the twos will face 
about and incline slightly forward, bending the trunk only at the 
hips, and the ones will beat the backs of the twos from the waist up 
and down ; and finally, at the last command, the twos will instantly 
face about into position, and the ones will simultaneously face about, 
turning their backs toward the twos ; when the twos in like manner 
will beat the backs of the ones. At the command. Attention, the 
ones will face about, and both ranks will take the military position. 
As this is one of the most useful, as well as most pleasing, of all the 
Series of exercises in Calisthenics, the instructor will take especial 
pains to secure the utmost promptitude, precision, and exactness in 
the execution of the movements. 



FIFTH SERIES. 

First Position. 

No. 275. — The instructor commands : 1. Combined Exercises; 
2. Fifth Series {Foot Movements) ; 3. First — Position. 

No. 276. — This Series embraces Movements from the spot done 
in pairs. At the third command, the students, formed in two straight 
lines, will all face in the same direction, each couple standing abreast. 



COMBINED EXERCISES. 



245 



the line of twos being at the right of the ones ; the feet will be 
placed in military position, Fig. 124: ; the left hands of the ones 
and the right hands of the twos will be fixed upon the hips, and the 
left hands of the twos will be sustained by the right hands of the 
ones, as in Fig. 125. 

No. 211.— First, Second, TJiird, Fourth, and Fifth Movement.^. 
The Jirst class of foot movements of this position is the same as 
No. 238 ; the second, as No. 239 ; the third, as No. 241 ; the fourth, 
as No. 242 ; and the fifth, as No. 
243, the steps being taken simul- 
taneously by the students, ar- 
ranged in pairs as explained in 
No. 276. 

No. 218— Sixth Movements 
— Forward. At this command, 
the ones and twos, joining their 
hands in pairs, simultaneously 
slide their left feet forward, as 
seen in Fig. 125, and instantly 
draw the right feet up to the 
heel of the left. This movement 
is repeated until eight slides are 
taken with the left feet, when the 
right feet advance and make eight 
corresponding shdes. All of the 
students thus advance in the same 
direction, in straight lines ; around 
a room, turning at each corner ; 
or in a circle, until the instructor 
commands, (7/ass— Halt ; or, About— Face. When the last command 
is given, the students instantly turn round and execute the move- 
ments in a contrary direction. The turning is done toward the inte- 
rior of the room or the center of the circle. This class of movements 
constitutes what is usually called a sliding exercise. In all the 
movements of this Series, the instructor will take especial pains to 
secure ease, grace, and elasticity, as ivell as correctness and pre- 
cision. Appropriate Music on pp. 161 and 206. 

No. 279. — Seventh 3fovements—F orv^ard. At this command, 
the students simultaneously execute a short forward slide, inclining 




246 



CALISTHENICS. 



to the left, and a hop with the left foot, and then a corresponding 
slide and hop with the right foot. These alternate motions continue 
until the instructor commands. Class — Halt ; or. About — Face, as 
in No. 278. The hop that immediately follows each slide, alone 
varies these movements from the usual motions employed in skating. 
Music, Part First, p. 206. First, however, employ the second va- 
riety of counting, on p. 144. 

No. 280. — Eighth Movements — Forward. In executing this 
class of movements, the students first slide the left foot forward, 
inclining toward the left at an angle of 45 degrees, then lift the 
right foot and place it immediately behind the heel of the left foot, 
and then hop twice on the left foot ; second, the right foot makes a 
corresponding slide, inclining to the right, the left foot is placed be- 
hind the right heel, and then two hops are done with the right foot. 
These movements are continued until the instructor commands. Class 
— Halt ; or, About — Face, as explained in K"o. 278. Count as in 
No. 279. Music, Part Second, p. 206. 

No. 281. — Ninth llovements — Forward. This class of move- 
ments is formed wholly of hops. The couples advance by first hop- 
ping four times on the point of the right foot ; then four times on 
the point of the left foot ; and finally, eight times in alternate double 
hops, the first and second being done on the left foot, the second and 
third on the right, &c. The students will continue to repeat the 
movements until otherwise commanded. Music appropriate for this 
exercise on p, 207. 

The instructor will remember, that the students are not to touch 
their heels to the floor while executing the sixth, seventh, eighth, 
and ninth classes of movements. 

Second Position. 

No. 282. — At the command. Second — Position, the ones and 
twos will face each other, placing their feet in the military position, 
and standing near together, the ones holding the hands of the twos, 
with the arms hanging naturally by the sides. 

No. 283. — First Movements — Forward. This class of move- 
ments, which corresponds to No. 281, is formed wholly of hops. The 
couples all advance sidewise in the same direction, the twos within 
the circle, or nearest the center of the room. They move forward in 



COMBINED EXERCISES. 



247 



the direction of tlie right arm of the ones, first elevating the advanced 
legs and arms, as shown in Fig. 126, and executing four simul- 
taneous hops ; then the advanced arms are depressed, the arms in 
the rear elevated at an angle of 45 degrees, and the advanced feet 
execute four simultaneous hops ; and finally, eight simultaneous hops 
are done, the first and second on the points of the feet in the rear, 
the third and fourth on the toes of the advanced feet, &c., the ad- 
vanced arms being elevated whenever the hops are done on the feet 
in the rear, and lowered every 
time they are done on the ad- 
vanced feet. The students con- 
tinue to advance until the instruct- 
or commands. Class — Halt ; or, 
About — Face. When the last 
command is given, the students 
turn round, as in No. 2T8, and 
execute the movements in a con- 
trary direction. 

No. 284. — Second Jlovements 
— Forward. This class of move- 
ments corresponds to the sliding 
exercise of Xo. 2T8. With the 
arms' in the position of Fig. 126, 
the right feet of the ones and the 
left feet of the twos simultaneous- 
ly execute eight slides, when the 
couples instantly turn completely 
round, lowering the arms that 
were up, and elevating the ones 
thus brought to the front, and 
continue in the same direction, executing simultaneously eight slides 
with the left feet of the ones and the right feet of the twos, when 
the commencing position is instantly resumed. The students thus 
continue until otherwise commanded. 

No. 285. — Tliird IIovements—YoRWARB. The couples, with 
their arms as in Fig. 126, will simultaneously execute a shde, the 
ones with the right feet and the twos with the left ; then they will 
immediately hft the feet in the rear, place them just behmd the 
advanced feet, and hop once on the feet thus placed. These three 




248 



CALISTHENICS. 



motions will be repeated until the advanced feet execute four slides, 
when the students will instantly face about, as in No. 284, and exe- 
cute a like number of corresponding motions in the same direction, 
the slides being made with the left feet of the ones and the right 
feet of the twos. These movements will thus continue until other- 
wise commanded. At first, the students will execute these move- 
ments in connection with counting, employing the fourth variety on 
p. 144. Appropriate Music on p. 209. 

"No. 286. — Fourth Movements — Forward. In the position of 
Fig. 126, the students will advance, first hopping simultaneously four 
times with the feet in the rear ; and then, lowering the advanced 
arms and elevating the arms in the rear, they will hop four times 
with the advanced feet. They will thus continue, changing the feet 
employed, and the direction of the slant of the arms, on every fourth 
hop, until sixteen hops are executed. Then the couples will in- 
stantly turn so as to bring the twos on the outside of the circle, 
or nearest the outside of the room, when they will simultaneously 
execute a slide, the ones with the left feet and the twos with the 
right, lift the feet in the rear, place them just behind the advanced 
feet, and hop once on the feet thus placed. This slide, with the two 
accompanying motions, will be repeated four times ; when the couples, 
instantly recovering their original position with the ones outside, will 
execute the four slides with the accompanying motions, the ones 
sliding with the right feet and the twos with the left. This class 
of movements will be repeated at pleasure. The students will first 
execute the movements in connection with counting, employing the 
following order, and giving each accented number twice the time of 
the others : 

One, two, three, four ; one, two, three, four ; one, two, three, 
four ; one, two, three, four : one, two, three ; one, two, three ; one, 
two, three ; one, two, three : one, two, three ; one, two, three ; one, 
two, three ; one, two, three. One, two, three, four, &c. 

Music on p. 18t. 



GYMNASTICS 



GYMISTASTICS, a Avord having reference in its deriva- 
tion to the ]uide or seminude condition of the ancient 
gymnasts when nnder training, signifies, in its proper clas- 
sical interpretation, an extended and systematic course of 
exercises employed for pliysical education and symmetrical 
development. The term in this work is applied only to 
exercises that wre done hy the aid of ajpparatus^ all others 
more properly falling under the general title, Calisthenics. 

It is our purpose in this treatise, as far as possible, to 
perfect athletic exercises, artfully bringing into play the 
greatest amount of mental activity combined with the most 
varied and approved processes of physical training, thus 
securing a superior fineness of organization, with the subtile 
qualities that accompany it, — grace, agility, suppleness, a 
good eye, and a ready hand, — as well as robust health, solid 
strength, and power of endurance. 

As the explanations and directions in Calisthenics, from 
p. 118 to p. 154, and the various modes of marking time in 
connection with Movements, from p. 143 to p. 146, inclusive, 
apply with equal force to Gymnastics, the instructor will 
require students to secure a perfect mastery of them before 
proceeding further. The same Music will be employed in 
Gymnastics as in CalisthRuics. 



252 



GYMNASTICS. 



APPAEATUS. 

APPARATUS, such as is used in our modern gymna- 
siums, seems to have been almost wholly unknown 
among the ancients. Holding as they did, especially in the 
Grecian States, that there - could be no health of the mind 
unless the body were cared for, and viewing exercise also 
as a powerful remedial agent in disease, they adopted the 
gymnasium as their school, making the public games and 
festivals its annual exhibitions. Gymnastics, instead of 
being made a mere appendage in their system of education, 
occupied a position certainly not inferior to Grammar, Music, 
Architecture, and Sculpture. The results were, " Living 
models of manliness, grace, and beauty," — an equal develop- 
ment of the powers of the mind and of the body, Ifj how- 
ever, with the discus^ or quoit ; the leaden dumb-bell ; their 
games of ball ; the sport called shajyerda, in which a single 
rope drawn over a pulley was employed ; and hy running, 
leaping, wrestling, and boxing, such splendid results were 
secured, what ought we not reasonably to expect, having all 
the modern appliances of the gymnasium? 

Parallel bars, both vertical and horizontal, vaulting-bars, 
Indian clubs, dumb-bells, peak-ladders, horizontal ladders, 
weights and pulleys, suspended rings, hand-rings, the wooden 
horse, the spring-board, the leaping-pole, the wand — in a 
word, every piece of gymnastic apparatus worthy of the 
name, probably has peculiar advantages, affording new posi- 
tions from which interesting movements may be executed 
that bring into play, more vigorously than any thing else, 
certain classes of muscles. As, however, our gymnasiums 
are usually private, and only accessible to the few ; and as it 
is better to know eveiy thing with regard to the use of Q.few 
pieces of apparatus, than to know something of many^ we 
have restricted ourselves to those only that are easily secured 
and cheap ; that afford the most and best exercise in the 
shortest time; that may be used with equal facility under 



WANDS. 



253 



cover, or in the open air; that may be employed by 
persons of all ages, either individually or in classes ; 
and that insure geniality and generous emulation alike 
in the family, the school, and the gymnasium. 

The apparatus is all made of wood. If not polished^ 
it should he varnished with shellac, at least three 
coats. It should he well ruhhed with fine sandpaper^ 
hoth after the first and the second coats of varnish are 
applied. Thus prepared^ the more it is used^ the 
smoother it hecomes. 

WAKDS. 

WAI^DS furnish such an extended course of beau- 
tiful and peculiarl}^ effective exercises, that they 
may be regarded as almost indispensable in the forma- 
tion of a system of physical training. Intelligently 
and ingeniously employed, they call into play, sepa- 
rately and in combination, all the muscles and joints. 

Firm and uncompromising, the wand is only equaled 
by the Indian club in giving flexibility to the liga- 
ments and muscles of the arms and shoulders. As a 
promoter of digestion and a curative for dyspepsia, it 
surpasses all otlier gymnastic apparatus. 

It may be used by persons of all ages, and is alike 
accessible to the rich and the poor. Any straight, 
smooth stick of moderate size w^ill answer. A statf 
from the commonest sapling becomes, in tlie hands of 
a gymnast, more potent than any magician's wand ; 
the limbs of the beech, the birch, of nearly all of our 
forest trees, more precious than fabled boughs, heavy 
with their golden apples, fresh from the gardens of the 
Hesperides. 

The form of the wand shown by the accompanying 
illustration is superior to all others. It has eight plane, 
equal faces, or sides. It is seven-eighths of an inch 
thick for men and women, and threefourths for boys 
and girls. When held vertical by the side, it extends Fig. 2. 
12 



254 



GYMNASTICS. 



from the floor to the lobe of the ear, as in Fig. 7. It should 
he exactly of this length, as some of the most valuable move, 
merits can not he executed with a shorter one. 

Any hard, well-seasoned wood will answer for a wand. 
The best material is white ash. 

Though metallic balls at the end of wands may be dis- 
pensed with, and should be, for children, they add greatly to 
the precision and effectiveness of the exercise. These balls 
differ in size and weight. They should not generally weigh 
more than three pounds each for strong men. The size better 
adapted to ordinary purposes than any other, is one inch and 
a half in diameter, with a hole through the center of the ball 
of five-eighths of an inch in diameter, in which the well-fitted 
end of the wand is inserted and securely wedged. 

The best balls are cast of iron. They should be japanned, 
at least three coats, and well baked. 

Some of the wand movements are rendered more difficult 
by seizing the wand near the ends, and others by drawing 
the hands in so that they are but a few inches from the 
center. 

DUMB-BELLS. 

DUMB-BELLS, all things considered, are incomparably 
superior, as a means of physical culture, to any other 
article of gymnastic apparatus. With a single pair, a man 
may exercise every muscle and joint of his body in half 
an hour, if he has sufficient ingenuity in positions and 
movements. In his hands, as by magic, they undergo a 
constant change — at one moment, what they appear to be ; 
at the next, a pair of Indian clubs, gymnastic rings, parallel 
bars, a wand, a foil, — in short, the entire apparatus of the 
gymnasium, though occupying but little space either at rest 
or in motion. 

The dumb-bell is available at all seasons and in all places, 
affording the most pleasing, varied, and concentrated of all 
the athletic exercises, both for single and combined move- 
ments, individuals and classes. 



DUMB-BELLS. 



255 



Cast-iron dumb-bells, of proper form and weight, are de- 
servedly popular among the best gymnasts. Heavy bells, 
however, are almost useless for exercise^ affording only a few 
movements that serve as a test of strength. When using a 
single bell for this purpose, both arms should be employed 
to the same extent, so as to avoid a one-sided development. 

Dumb-bells, weighing from three to 
five pounds, properly used, are suffi- 
ciently heavy for the strongest man. 
Be one's time never so much limited, 
they should not weigh more than ^ 
twenty-five pounds to the pair. 

The best and most approved dumb- 
bell at the present time is turned from ^ 
wood. The timber should be sawed c 
into scantlings, and well seasoned be- 
fore turning it into bells. Maple, 
beech, birch, oak, and hickory, make ^ 
very good bells for family and school 
use. Locust is the best domestic wood 
for this purpose, rosewood is still bet- 
ter, lignum vitse is best of all. 

The bell illustrated by Fig. 3, af- 
fording, as it does, an opportunity 
both for the handle and the hall grasp^ 
is regarded as greatly superior to any 
previous model. For the convenience 
of instructors and manufacturers, we 
submit a minute description of the 

Form and Sizes. 
Number One.^ 

Whole length, 11 1 inches ; diameter of each ball, 3|; width 
of the bead at a, J ; diameter of the shoulder of the handle 




^ No. 1. — As this bell is intended wood : hickory, locust, ironwood, ros£- 
for men, it should be made of a heavy wood, or lignumvitae, will answer. 



256 



GYMNASTICS. 



at B, \\^fullj diameter of the handle at c, \^fall', diameter 
of the center of the handle, 1, full', width of the bead at d, 
f ; whole length of the handle, including both shoulders, 4J. 

Number Two.^ 

Entire length, 10| inches ; diameter of each ball, 3| ; width 
of the bead at a, \ \ diameter of the shoulder of the handle 
at B, I J, scant; diameter of the handle at c, |, scant; diame- 
ter of the center of the handle, 1, scant; width of the bead 
at D, f ; whole length of handle to the balls, 4. 

Number Three.^ 

Entire length, %\ inches; diameter of each ball, 2|; width 
of the bead at a, f ; diameter of tlie shoulder at b, 1; diame- 
ter of the handle at c, f ; diameter of the center of the 
handle, \ ; width of the bead at d, J ; full length of handle 
to the balls, 3|. 

Number Four. 

Entire length, SJ inches ; diameter of each ball, 2J ; width 
of the bead at a, f; diameter of the shoulder at b, |, f(dl; 
diameter of the handle ate, \^ fnll ; diameter of the center 
of the handle, I, full ; width of the bead at d, J; full length 
of handle to the balls, 3|. 

INDIAN CLUBS. 

INDIAN CLUBS, or Scejyters^ as they are sometimes 
called, are deservedly held in the highest esteem by all 
gymnasts, affording, as they do, one of the very best and 
most extended series of exercises for developing the muscular 

' No. 2. — This bell is intended for are intended for boys and girls from 

women and youth. Made of heavy six to twelve years of age ; though 

wood, it answers equally well for No. 3 answers equally well for women 

men. and youth, when made of heavy 

" Nos. 3 and 4. — These two bells wood. 



INDIAN CLUBS. 



257 



power of the wliole body, l^othing can be better calculated 
to invigorate the respiratory system, expand the chest, call 
into action the muscles of locomotion 
and the principal structures around the 
joints, and enlarge and strengthen the 
muscles of the forearm, the upper arm, 
and the shoulder, as well as the abdomi- 
nal and spinal muscles. 

While they secure to a greater extent 
than any other apparatus the requisite 
simultaneous activity of the mental and 
the physical powers, in their beginnings 
they are accessible to the meanest capa- 
city ; since there are scarcely any w^ho, 
at the first trial, can not execute a num- 
ber of the elementary movements. 

Commencing w^itli light implements 
and simple exercises, the student, 
thoughtful and persistent efforts, 
soon learn to handle heavy clubs in al- 
ternate, reciprocating, and double move- 
ments, tracing in the air the most varied 
and beautiful devices, in complex curves 
that seem at first almost inexplicable. 

These clubs act like an incantation. 
You can not touch them, you can not 
lift them for the simplest exercise, with- 
out causing strength to flow into every 
member of your body as naturally and 
irresistibly as water into the conduit, 
vrhen you turn it on to irrigate and en- 
rich the soil. Xew systems of muscles 
seem to shoot out from your shoulder- 
blades, enabling you to do, almost with- 
out effort, what you cuuld not dream of doing before. Move- 
ments that seemed awkward and hopelessly difhcult at first, 
soon become easy, graceful, and exhilarating. 



will 




258 



GYMNASTICS. 



l^umerous and appropriate exercises are given in this 
work, both for long clubs and short ones. Four sizes of 
long clubs, and the same number of short ones, affording a 
sufficient variety for persons of all ages, are here described. 
The shape of all the clubs is that of Fig, 4. 

Long Clubs. 

Long clubs are pleasanter to handle, and more effective, 
in executing a number of movements, than short ones. They 
are specially adapted to exercise in gymnasiums, calisthenic 
halls, large rooms, and the open air, where there is an abun- 
dance of space. 

For Men. 

]N"o. 1. — Whole length, 28 inches; diameter of the knob 
at A, Fig. 4, l^-; diameter of the handle at b, 1 ; diameter at 
c, li ; width of the bead at c, f ; diameter of the shoulder at 
D, If; whole length of the handle from a to d, 4f ; diame- 
ter at E, li; greatest diameter at o, 4-J; wudth of bead at 
G, f ; whole width from f to h, li; distance from g to i, 5 ; 
diameter of the end i, wliich is hollowed out as shown hy its 
front view j, 3. 

ITo. 2. — The entire lengtli of this club is 26 inches. In 
every other respect it is the same as ISTo. 1. 

For Women and Youth. 

[N'o. 3. — Whole length, 24 inches; diameter of the knob 
at A, If; diameter of the handle at b, -J ; diameter at c, l-§-; 
width of the bead at c, f ; diameter of the shoulder at d. If ; 
whole length of the handle from a to n, 4^ ; diameter at e. 
If ; greatest diameter at g, 4| ; width of bead at g, f ; whole 
width from f to h, 1^ ; distance from g to i, 4 ; diameter of 
the end i, which is hollowed out as shown hy its f ront view 
J, 2|. 

JSTo. 4. — The entire length of this club is 22 inches. In 
other respects it is the same as No. 3. 



INDIAN CLUBS. 



259 



Short Clubs. 

Short clubs are more convenient, and will be found kiore 
generally useful tJian long ones, especially in schools and 
families. All of the long-club exercises may easily be exe- 
cuted with short clubs, while many of the short-club exer- 
cises will be found quite difficult at first, if executed with 
long clubs. 

For Men. 

No. 1. — Whole length, 20 inches ; diameter of the knob 
at A, 1-| ; diameter of the handle at b, J ; diameter at c, l-J ; 
width of the bead at c, f ; diameter of the shoulder at d. If ; 
whole length of the handle from a to d, 4^ ; diameter at e, 
1^ ; greatest diameter at g, 3J ; width of bead at g, J ; whole 
width from f to h, 1 ; distance from g to i, 3^ ; diameter of 
the end i, which is hollowed out as shown hy its front view 
J, 2i. 

No. 2. — The entire length of this club is 18 inches. In 
every other respect it is the same as No. 1. 

For Women and Youth. 

No. 3. — Entire length, 18 inches; diameter of the knob 
at A, li; diameter of the handle at b, f ; diameter at c, 1 ; 
width of the bead at c, f ; diameter of the shoulder at d, 1|- ; 
whole length of the handle from a to d, 4^ ; diameter at e, 1 ; 
greatest diameter at g, 3|- ; width of the bead at g, I- ; whole 
width from f to n, 1 ; distance from g to i, 3 ; diameter of 
the end i, which is hollowed out as shown hj its f ront view 
J, 2|. 

No. 4. — The entire length of this club is 16 inches. In 
other respects it is the same as No. 3. 

The desired weight should not he secured hy varying the 
size, hut the material. For ordinary purposes, maple, or any 
hard wood of about the same density, is preferable. For 
strong men, or as tests of strength, clubs should be made of 



260 



GYMNASTICS. 



ironwood, locust, the heaviest mahogany, or lignum-vitse. 
Very good light clubs, for women and youth, are made of 
whitewood, ash, or Mexican mahogany. 

The length of the club is determined 
by the length of the arm. The long 
club, when held upon the arm extended 
horizontally, should reach to the point 
of the shoulder where the arm and shoulder join, as in 
Fig. 5. The short club in the same position should extend 
nearly two inches above the elbow. 

EmGS. 

EIKGS made of iron, and employed for movements that 
are executed by the combined efforts of students ar- 
ranged in pairs, have been used in our gymnasiums for many 
years. Although they are worthless in the hands of one 
person, and consequently inferior to wands, Indian clubs, 
and dumb-bells, yet they afford opportunities for so many 
graceful positions and effective movements in conibination, 
for persons of all 
ages and degrees of 
strength, that they 
are justly classed 
with the most de- 
sirable and valua- 
ble gymnastic ap- 
paratus. 

The best and most 
popular rings for 
exercises in schools 
and families, for 
parlor games and 
tableaux-vivants^ are 
made of wood. Any 
common hard wood will answer, though cherry and ma- 
hogany are preferable. 





CLASSES OF MOVEMENTS. 



261 



The ring is turned from two pieces of board, one-half of 
an inch thick, glued together, with their grain running in 
contrary directions. It should be highly polished, or var- 
nished with shellac as explained on p. 253. Thus made, it 
is beautiful and strong. Fig. 6 is a good illustration of a 
mahogany ring. 

Two sizes afford a sufficient variety. The body of the 
ring, for men and women, is seven-eighths of an inch thick, 
and its inner diameter ^'y^ inches. The ring for boys and 
girls has an inner diameter oifour and one-half inches, with 
a body three-fourths of an inch thick. 

CLASSES OF MOYEMEJSTTS. 

EYEHY class of movements consists of thirty-two mo- 
tions, sixteen of which start from the commencing posi- 
tion, with the sixteen accompanying ones that are made for 
the recovery of the commencing position. 

The general commands of execution that are usually em- 
ployed in connection with the various classes of movements 
are : Kight, Left, Alternate, Recipeocate, Both. At the 
command, Kight, a prescribed number of motions is made 
from the commencing position with a right member of the 
body, or to the right ; at the command. Left, the same num- 
ber of corresponding motions is made with a left member of 
the body, or to the left ; at the command. Alternate, a 
motion is first made from the commencing position with the 
right member, or to the right, and the commencing ])osition 
regained, when a corresponding motion is made with the left 
member, or to the left, and these alternate motions are thus 
continued the prescribed number of times ; at the command, 
Kkciprocate, the prescribed number of motions is made by 
a reciprocating or see-saw movement, the right member first 
executing a motion from the commencing position, when one 
^nernber passes from the commencing position at the same 
time the other recovers it; and finall}^, at the command, 
Both, both members execute the motions simtdtane(nisly, 



262 



GYMNASTICS. 



the one to tlie right and the other to the left, or the entire 
distance is described by the body, without pausing at the 
commencing position^ until the prescribed number of motions 
is made. Such general commands as. Front, Rear, Up, 
Down, &c., are sufficiently significant without explanation. 

To avoid constant repetition in describing classes of move- 
ments, and for convenient reference, we here introduce the 

G-eneral Varieties. 

First Variety. 

The student will first make the prescribed motion, in a 
given direction^ and recover the commencing position, four 
times ; then he will make four corresponding motions from 
the commencing position m a contrary direction j then four 
of these motions from the position will be made by alterna- 
tion, the first in the direction first prescribed ; and finally, 
eight double motions will be made the entire distance, the 
first commencing from^ and only the eighth terminating at^ 
the commencing position. In executing the double motions, 
the tnusicy or the counting^ will he retarded nearly one-half. 
The usual commands of execution are : Kight (or Front), 
Left (or Rear), Alternate, Both. 

Second Variety. 

The prescribea motion will first be made, and the com- 
mencing position regained, four times with the right member 
of the body; then four times with the left member; then 
four times by alternation, the right member first executing a 
motion and recovering the commencing position ; and finally, 
four times with both members simidtaneously . The usual 
commands of execution are : Right, Left, Alternate, Both. 

Third Variety. 

The student will make the prescribed motion and recover 
the commencing position twice with the right member of 



CLASSES OF MOVEMENTS. 



263 



the body ; twice with the left member ; four times by alter- 
nation ; eight times by reciprocation ; and finally, four times 
w^itli both members simultaneously. The usual commands of 
execution are : Right, Left, Alternate, Recipeocate, Both. 

Fourth Variety. 

The prescribed motion is made, and the commencing posi- 
tion regained, four times wdth the right member, or in the 
given direction ; four times with the left member, or in the 
contrary direction ; and eight times b}^ alternation. The 
usual commands of execution are : Right, Left, Alternate. 

Fifth Variety. 

Four motions are made from the commencing position 
with the right member of the body ; four corresponding mo- 
tions with the left member ; and finally, sixteen of these 
motions by reciprocation. The usual commands of execu- 
tion are : Right, Lkft, Recipkocate. 

Sixth Variety. 

Four double motions are made from the commencing 
position, in given directions, with both members simultane- 
ously ; then four corresponding motions are made in con- 
trary directions; and finally, eight of these double motions 
are made in the prescribed directions alternately. 

Seventh Variety. 

Sixteen reciprocating motions are first made with both 
members in given directions, and then sixteen corresponding 
reciprocating motions are made in contrary directions. 

Eighth Variety. 

Four double motions are made from the commencing 
position, in the same direction, with both members simul- 
taneously; then four corresponding motions are made in a 
contrary direction ; and finally, eight of these double mo- 
tions are made by alternation. 



264 



GYMNASTICS. 



WAID EXERCISES. 



I. 

ARM AND HAND EXERCISE. 



FIRST SERIES. 

First Position. 

No. 1. — The students being placed as explained in the article 
entitled Formation of the Class, p. 125, and occupying standings 
as illustrated in Fig. 8, p. 127, their wands 
being held against the right shoulder, with 
the right hand, in the position of the dot- 
ted wand of Fig. 7, the instructor will first 
command. Order — Wand. 

No. 2. — At the first word of command, 
Order J the students seize the wand briskly 
with the left hand near the point of the 
shoulder, as shown by the dotted arm of 
Fig. 7. At the second word of command. 
Wand, they loosen the grasp of the right 
hand, simultaneously force the wand with 
the left hand through the right to the 
floor, and instantly carry the left arm back 
to the side, thus taking the habitual or 
military position, as illustrated by the 
solid part of Fig. t. 

No. 3. — Rest. The instructor will al- 
ways command. Order — Wand, before he 
permits the student to rest, as explained 
on pp. 128 and 149. ^iq. 7. 




ARM AND HAND EXERCISE. 



265 



No. 4. — Shoulder — Wand. Prior to changing ttie position of 
the student, or executing a march, the instructor commands, Shoul- 
der — Wand At the first word of this command, the student, who 
is standing in the position of Fig, 1, crosses the left arm front in line 
with the waist, and seizes the wand with the left hand exactly at the 
right elbow; at 
the second, the 
left hand raises ':>^ 
the wand, which ■> 
slips through the 
right hand, suffi- 
ciently high to - 
touch the point 
of the shoulder 
with the little 
finger of the left 
hand, when the 
right hand sus- 
tains the wand 
in its place, and 
the left hand, 
describing an arc 
in front, instant- 
ly drops to the 
side. 

No. 5. — The instructor will command : 1. Arm and Hand Exer- 
cise ; 2. First Series ; 3. First — Position. 

No. 6. — At the third command, the student will take the position 
of Pig. 8, in which the hands are nearly one-third of the length of 
the wand apart. 

No. 7. — First Movements — Right. At this command, a motion 
is made directly to the right, without bending the right arm, as rep- 
resented by the dotted part of Fig. 8, and the commencing position 
regained, four times ; then, at the command, Left, four correspond- 
ing motions from the position are made to the left ; then, at the 
command, Alternate, four of these motions are made, first to the 
right and then to the left, by alternation ; and finally, at the com- 
mand. Both, eight double motions are made from side to side, the 
first commencing from, and only the eighth terminating at, the com- 




266 



GYMNASTICS. 



mencing position. It will 
be seen that this class of 
movements is of the First 
Variety^ p. 262. 

For remarks on Music, 
see No. 3t, p. 149, and the 
note on p. 168. First exe- 
cute the movements to 
counting, using the Third 
Variety, p. 144. 

No. 8. — Second Move- 
ments. — Right. This class 
is formed of circular mo- 
tions, described first from 
the position of Fig. 8 around 
the right side so as to take 
the position of Fig. 9, and 
back to the commencing 
position. The correspond- 
ing motions are described 
around the left side. In 
resuming the commencing 
position, the arms will be 
straightened, as in Fig. 8. c 
Execute the movements in 
accordance with the First 
Variety, p. 262. 

Second Position. 

No. 9. — At the com- 
mand, Second — Position, 
the student will take the 
position of Fig. 1 0, in which 
the wand is placed horizon- 
tally, in line with the arm- 
pits, upon the breast, and 
the elbows are elevated as 
high as possible. 




Fig. 9. 




Fio. 10. 



AEM AND HAND EXERCISE. 



267 



No. 10. — First Movements — Down. The two remaining com- 
mands of execution are, Front, Alternate. The motions of this 
class are made from the position, directly down to the position of 
Fig. 8, and directly front the full length of the arms, in accordance 
with the Fourth Variety, p. 264. 

No. 11. — Second Movements — Right. The remaining commands, 
and number and order of the 
motions, are the same as the 
Fourth Variety. The mo- 
tions are made directly front ^ 
the full length of the arms, 
the right arm being first 
elevated and the left one 
lowered, so that the wand 
shall be at an angle of 45 
degrees at its greatest dis- 
tance front. In executing 
the corresponding motions, 
the left arm in like manner 
is elevated and the right one 
lowered. On each recovery 
of the commencing position, 
the elbows will always he 
elevated as high as pos- 
sible. Fig. 11. 




Third Position. 

No. 12. — At the command, Third — Position, the student will 
take the position of Fig. 11, in which the arms are extended directly 
front their full length in line with the shoulders. 

No. 13. — First Movements — Wrists. At this command, with- 
out changing the position of the arms, the wrists will be bent down 
and up as far as possible, as shown by the two lower dotted wands 
of Fig. 11, four times. At the command. Elbows, which will be 
given the fourth time the wrists are bent down, the elbows are bent, 
ivithout changing their position, so as to bring the forearms into a 
vertical position, as shown by the dotted forearms and upper wand 
of Fig. 11, and the commencing position regained /bi/r times ; and 



268 



GYMNASTICS. 



fiuallj, at the command. Alternate, eight of these motions are made 
alternately, first with the wrists, and then with the elbows. 

No. 14. — Second Ilovements — Down. The remaining commands 
are, Up, Alternate, Both. In executing these movements, the arms 
are kept perfectly 
straight. The mo- 
tions are made, from - 
the commencing posi- 
tion of Fig. 11, down 
to the position of 
Fig. 8, and up to the 
position of Fig. 12. 
They are of the First 
Variety, p. 262. 

No. lb.— Third 
Mo vements — Right. 
This class is executed 
from the third posi- 
tion by turning the 
wand completely over 
sidewise, first bring- 
ing the right hand 
under and the left 
one above, in such a 
manner as to cross 
the arms, reverse the 
position of the hands, 
and turn the nails 
up. Employ the T^i'rs^ 
Variety, p. 262. 




Fig. 12. 



Fourth Position. 



No. 16. — At the command, Fourth — Position, the student will 
take the position of Fig. 12, in which the arms are straight and the 
wand is held directly above the head. 

No. 17. — First Movements — Right. The motions are made 
directly sidewise, first to the right, carrying the left forearm across 
the middle of the head, as represented by the dotted part of Fig. 12. 
Employ the First Variety, p. 262. 



ARM AND HAND EXERCISE. 



269 



No. 18. — Second Movements — Front. The remaining commands 
are, Rear, Alternate, Both. The movements are executed from 
the position of Fig. 12, by first making the necessary motion front 
to take the position of Fig. 10, the elbows being elevated as high as 
possible above the wand in that position, and the corresponding mo- 
tion in the rear, as represented by the dotted part of Fig. 13, in 
accordance with the First Variety, ]). 262. 



SECOND SERIES. 



First Position. 

No. 19. — The instructor will command: 1. Arm and Hand 
Exercise ; 2. Second Series ; 3. First — Position. 

No. 20. — At the first word of the third command, the student 
will place the hands 
exactly the length oi 
the arm apart by act- 
ual measurement, for 
which purpose the 

position of the half \\ \ If I 

figure B of Fig. 14 
will be taken ; at the 
second, the regular 
position of the full 
Fig. 14 will be taken, 
in which the wand 
is placed horizontally 
upon the breast in 
line with the shoul- 
ders, the hands being 
the length of the arm 
apart, and the elbows 
below the wand. 

No. 21. First 

Movements — Right. 
The movements are 
made sidewise, first 
to the right by ex- 





Fio. 15. 



ARM AND HAND EXERCISE. 



271 



tending the right arm its full length, and drawing the left hand 
against the front of the right shoulder, as represented by the dotted 
part of Fig. 14. The elbow that is bent must pass under and front, 
so that the upper arm shall press firmly against the wand, as shown 
by the half figure b. Execute the movements in accordance with 
the First Variety, p. 262. 

No. 22. — Second Movements — Right. The motions of this class 
are made from the position to the sides, first to the right, as shown 
by the dotted part of 
Fig. 15. The arm that i:' 
is straightened is thrust i.; -., 

directly down by the 
side, the other arm ;■ 
passing front in line ]'■ \ 

with the neck, with 
the index finger press- 
ed upon the top of the 
shoulder, and the wand 
held vertical. Employ 
the First Variety, p. 
262. 

Second Position. 




No. 23. — At the 

command. Second — 
Position, the student 
will take the position 
of Fig. 16, in which 
the arms are straight, 
and the hands about 
six or eight inches . - 
from the ends of the 
wand. 

No. 24. — First Movements — Right. The movements are exe- 
cuted sidewise, first to the right, as represented by the dotted part 
of Fig. 16, in accordance with the First Variety, p. 262. 

No. 25. — Second Movements — Right. In executing these move- 
ments, the right arm is first elevated and slightly bent, and the left 



Fig. 16. 



272 



GYMNASTICS. 



arm is lowered to an angle of 45 degrees, without being bent or 
forced back. The wand thus passes around and back of the left 
shoulder until it arrives in line with the left eve, as represented by 
the dotted part of Fig. 17. It must not touch the body until the 
commencing jyosition is regained. Emj)loy the Fourth Variety, 
p. 263. 

No. 26. — Third Movements — Right. At this command, the 
student will first make the first motion of No. 25, thus taking the 
position of the dotted :- 
part of Fig. 17 ; sec- \' -.., 

and, he will lower the 

wand behind the body / ; 'X 

into a position corre- 
sponding to the com- 
mencing position ; he 
will then, third, recov- 
er the dotted position 
of Fig. 17 ; fourth, 
he will recover the 
commencing position. 
These four motions 
will be made twice 
around and over the 
left shoulder ; then, at 
the command, Left, 
four corresponding 
motions will be made 
twice around and over 
the right shoulder, the 
left hand being ele- 
vated ; and finally, at 
the command. Alter- 
nate, the first and 
second motions over the left shoulder will be followed by the thh'd 
and fourth over the right shoulder, and these four motions repeated ; 
and then- the first and second motions over the right shoulder will 
be followed by the third and fourth over the left, and these last four 
motions repeated. 

No. 27. — Fourth Movements — Right. The remaining com- 




FiG. i: 



ARM AND HAND EXERCISE. 



273 



mands, and the number, direction, and order of motions in this class, 
are the same as in No. 26 ; but, the entire distance from the front 
to the rear, and from the rear to the front, being described ivithout 
pausing in the dotted position of Fig. It, the wand leaves and re- 
covers the commencing position twice the number of times. 



No. 28. — At the command. Third — Position, the student will 
take the position of Fig. 18, in which the middle of the wand is 
placed against the right 
hip, with the left arm 
extended to the front 
and the right to the 



rear as possible. Em- ^'"'''^ 
ploy the First Variety, 
p. 262. 

No. 30. — Second Movements — Right. At this command, the 
right hand will bear the wand over the head in front, the left arm 
remaining in its position; place it upon the point of the left 
shoulder, as represented by the dotted part of Fig. 18, and regain 
the commencing position four times ; then, at the command, Left, 



Third Position. 



■ No. 29. First 

Movements Front. 

At this command, the 
wand will be advanced 
directly front, inclining 
up, both arms being 
kept straight, until the 
right arm is at the side 
of and in line with the 
leg, when the commen- 
cing position will be 
regained. The corre- 
sponding motion from 
the position, at the 
command, Rear, will 
be made as far to the 



rear. 




274 



GYMNASTICS. 



four corresponding motions from the position will be made to the 
rear by bearing the wand over the head with the left hand and 
placing it upon the point of the left shoulder, the right arm remain- 
ing in its position ; and finally, at the command, Alternate, eight 
of these motions will be made alternately, the wand first passing 
into the dotted position of Fig. 18. , 




Fia. 19. 



Fourth Position. 

No. 31. — At the command, Fourth — Position, the student will 
take the position on the left side corresponding to the third posi- 
tion, Fig. 18, by placing the middle of the wand against the left hip, 
with the right arm extending front and the left to the rear. 

No. 32. — First and Second Movements. The first class of 
movements from this position corresponds to that of Ko. 29 ; the 
second, to that of No. 30, the wand being carried to the point of 
the right shoulder, both to the front and to the rear. 



ARM AND HiVND EXERCISE. 



275 



THIRD SERIES. 



First Position. 

No. 33. — The instructor will command : 1. Arm and Hand Exer- 
cise ; 2. Third Series ; 3. First — Position. 

No. 34. — At the third command, the student will take the posi- 
tion of Fig. 19, in which the hands are nearly one-third of the length 
of the wand apart. 

No. 35. — First Movements. The commands of execution are, 
Down, Up, Alternate. The motions from the position are made 
by thrustkig the wand directly down the full length of the arms, the 
body being kept vertical, 
and directly out and up 
as high as possible, the r \ 

trunk shghtly bending \. '\ 

front from the waist, as /i- '■, 

shown by the dotted parts 
of Fig. 19. Employ the 
Fourth Variety, p. 263. 

No. 36. Second 

Movements Right. — 

This class is formed of 
circular motions 



corre- 
sponding to those of No. 
8 ; the first, from the po- 
sition of Fig. 19, around 
the right side so as to 
take a corresponding po- 
sition in front, the left 
arm being drawn firmly 
against the left side and 
across the spine. Em- 
ploy the First Variety, 
p. 262. 




Fig. 20. 



Second Position. 

No. 37. — At the command. Second — Position, the student takes 
the position of Fig. 20, in which the arms are straight, the thumbs 



276 



GYMNASTICS. 



placed upon the wand near its ends, the backs of the hands, to the 
rear, and the wand held against the small of the back. 

No. 38. — First, Second, Third, and Fourth Movements. These 
movements correspond respectively to those of Nos. 24, 25, 26, and 
2T, thej^rs^ class being made sidewise, as represented by the dotted 
part of Fig. 20 ; the second, over the shoulders at an angle of 4.') 
degrees, first from the position of Fig. 20 to that of Fig. 21 and 
back ; the thirds over the 
shoulders, first from the 
position of Fig. 20 to that 
of Fig. 21, then down in 
front as represented by 
the dotted part of Fig. 
21, then back to the posi- 
tion of Fig. 21, and finally 
back to the commencing 
position ; the fourth, over 

the shoulders at an angle 

of 45 degrees, without 
pausing, in the solid po- 
sition of Fig. 21. 

No. 39.— The preced- 
ing Arm and Hand Exer- 
cise is almost invaluable, 
as it brings into vigorous 
play, and tends to enlarge, 
three distinct groups of 
muscles which are gener- 
ally almost totally neg- 
lected, and which conse- 
quently exist only in a crippled state, although they are of the utmost 
importance, each being intimately connected with a number of other 
functions of the greatest necessity to health and life. These are the 
muscles of the shoulders and the chest, having a bearing on the 
lungs ; the abdominal muscles, bearing on the corresponding organs ; 
and the spinal muscles, which are closely connected with the whole 
nervous system. 

No. 40. — Respiration. The instructor will frequently -give the 
class exercises in breathing explained in the article on Respiration, 




Fig. 



TRUNK AND WAIST EXEKCISE. 



277 



p. 13. As a still more valuable exercise to invigorate the lungs and 
enlarge their capacity, and to secure correct articulation, the in- 
structor will require students to combine the production of the Oral 
Elements, especially the Atonies, p. 21, with gymnastic movements. 
For example, in connection with Music, or with counting done by 
the instructor, the students, while slowly executing the first move- 
ments of Fig. 10, will simultaneously produce the oral element, or ^ 
sound, of / on each downward motion, and the oral element of h on 
each motion that is made directly front, audibly and fully infiating 
the lungs each time while regaining the commencing position. In 
like manner, the oral elements of k and p will be uttered in connection 
with the second movements of Fig. 11 ; the oral elements of s and t, 
with the first movements of Fig. 12 ; the oral elements of th atonic 
and ch, with the second movements of Fig. 12 ; the oral elements of 
sh and v:h, with the second movements of Fig. 14, as illustrated by 
Fig. 15 ; and, commencing again with the Atonies, the oral elements 
of / and h, with the first mo vements of Fig. 19, &c. 



II 

TRUNK AND WAIST EXERCISE. 



FIRST SERIES. 

First Position. 

No. 41. — The instructor will command: 1. Trunk and Waist 
Exercise; 2. First Series; 3. First — Position. 

No. 42. — At the third command, the student will take the posi- 
tion of Fig. 22, in which the wand is held horizontally immediately 
above the head, with the hands near the ends. 

No. 43. — First and Second Movements. T\xq first class of move- 
ments is executed from the position by bending the trunk sidewise, 
principally at the waist, first to the right, as represented by the 
13 



278 



GYMNASTICS. 



dotted part of Fig. 22 ; the second, by bending to the front and the 
rear as far as possible, the knees remaining unbent, as represented 
by the dotted parts of Fig. 23. Employ the Fiy^st Variety, p. 262. 
Music on p. 18*1. 




Second Position. 



No. 44. — At the command, Second — Position, the student will 
take the position of Fig. 24, being careful to hold the backs of the 
hands up. 



TRUNK AND WAIST EXERCISE. 



279 



No. 45. — First 
and Second 3fove- 
ments. These two 
classes only differ 
from those of IS'o. 
43 in the position 
of the wand. In 
making the mo- 
tions sidewise, as 
represented by the 
dotted part of Fig. 
24, the knees must 
not he bent. When 
making the for- 
ward motions of 
the second class, 
the legs and the 
spine are kejjt 
straight, the bend- 
ing taking place 
only at the hips, 
as in Fig. 25. 

No. 46. 

this class, the trunk 

is first turned over ^^/^ 
the right hip, with 
a downward flex- 
ion (the right arm 
being carried down 
and back and the 
left up and front, 
the eyes following 
the right hand), 
sufficiently to ena- 
ble the student to 
see the heels of 
those at the left 
in, or supposed to 
be in, the same 




Fig. 24. 

Third Movements — Right. In making tue motions of 




Fig. 25. 



280 



GYMNASTICS. 



rank, and then the commencing position is regained. The corre- 
sponding motion is made by bending down and over the left hip, the 
left arm being carried down and back and the right up and front, 
as represented by the dotted part of Fig. 26. Employ the First 
Variety, p. 262. 




No. 4:1 Fourth Ifovements. In executing the movements of 
this class, the trunk, held vertical, is stretched over the hips as far 
as possible, first to the right, as though one with his feet immovable, 



KNEE EXERCISE. 



281 



and Lis arms horizontal, and extended sidewise, were trying to turn 
his back completely in front to the instructor. Employ the^Fij^st 
Variety, p. 262. 

No. 48. — Fifth Ilovements. In making the motions of this 
class, the trunk is stretched with an upward^^xion, first to the 
right, as in Fig. 27. Employ the First Variety, p. 262. Music for 
the Third, Fourth, and Fifth Movements, on p. 188. 

No. 4»9. — The last three classes are much more than mere Trunk 
and Waist Movements, embracing, in addition, energetic and inyigor- 
ating exercise for the head and neck, and leg and ankle. They 
strengthen the loins and back, and enlarge the muscles that run 
round the entire waist. They promote digestion and cure dyspepsia. 



III. 

KNEE EXERCISE. 



FIRST SERIES. 

First Position. 

No. 50. — The instructor will command: 1. Knee Exercise; 2. 
First Series; 3. First — Position. 

No. 51. — At the third command, the student will take the First 
Position, which is that of Fig. 8. 

No. 52. — First Movements. The student will step forward and 
backward over the wand, first with the right foot, as in Fig. 28. As 
,soon as possible, the student must acquire the abUity to elevate the 
knee vertically without turning it sidewise, touching the breast on 
every upward motion, the upper imrt of the body being kept as im- 
movable as possible ; and to carry the foot completely over the wand 
without coming in contact with it. In stepping forward over the 
wand, the point of the foot only is placed upon the floor. Employ 
the Fourth Variety, p. 263. Music for this Series on p. 189. 



282 



GYMNASTICS. 



Second Position. 

No. 53. — At the com- 
mand, Second — Position, 
the student will take the 
position of Fig. 29, in 
which the wand, resting 
in the bend of the elbows, 
is pressed firmly against 
the back by forcing the 
fists back and out, with 
their pahns front, and pro- 
jecting the chest. 

No. 54. — Fir&t, Sec- 
ond, and Tliird Move- 
ments. These three classes 
are the same respectively 
as those of Nos. 155, 156, 
and 15 p. 200, the wand 
being kept in its position 
while the motions are 
made, as shown by the 
dotted part of Fig. 29. 



SECO^sTD SERIES. 
First Position. 

No. 55.— The instruct- 
or will command : 1. Knee 
Exercise; 2. Second Se- 
ries; 3. First — Position. 

No. 56.— At the last 
command, the student will 
take the position of Fig. 
16, which is the commen- 
cing position for the first 
classes of movements of 
this Series. Music on p. 
190. 




Fig 29. 



KNEE EXERCISE. 



283 




284 



GYIMNASTICS. 



No. 57. — First Movements — Right. At this command, the 
student will first stamp with the left foot, and then immediately step 
to the right, with a stamp of the right foot, placing about four times 
the length of the foot between the heels, thus taking the position of 
Fig. 30. As soon as this position is gained, the movements are 
continued by making the motion of the dotted part of Fig. 30, and 
regaining the position seven times. In making this sidewise motion, 
the full weight of the body is thrown upon the advanced leg, the 
other leg being kept rigid and straight, and the wand is carried out 
into a vertical position beyond the advanced knee. As soon as the 
seventh motion to the right is made, the student instantly recovers 
the commencing position by placing the right foot beside the left, in 
the original or military position ; then, at the command, Left, the 
student first stamps with the right foot and then steps to the left, 
with a stamp of the left foot, and makes seven motions to the left 
corresponding to the dotted part of Fig. 30, after which the original 
position is instantly regained. 

No. 58. — Second Movements. This class only differs from the 
movements of J^o. 57 in being executed to the front, hearing first 
to the right at an angle of 45 degrees, and then to the left as repre- 
sented in Fig. 31, the wand being advanced in the direction of the 
charges, inclining up at an angle of 45 degrees, as in the dotted part 
of Fig. 31. 

Second Position. 

No. 59. — At the command. Second — Position, the student will 
take the position of the sohd part of Fig. 30. 

No. 60. — First Movements. The first and only class of move- 
ments will be executed directly sidewise, without changing the posi- 
tion of the feet, first to the right, as represented by the dotted part 
of Fig. 30, employing the First Variety, p. 262. 



LEG AND FOOT EXERCISE. 



285 



lY. 

LEG AND FOOT EXERCISE. 



FIRST SERIES. 

First Position. 

No. 61. — The instructor will command : 1. Leg and Foot Exer- 
cise ; 2. First Series ; 3. First — Position. 

No. 62. — At the third command, the student will take the posi- 
tion of Fig. 32. 




Fig. 32. 

No. 63. — First Movements {Charges). This class of movements 
will be executed sidewise, first to the right, as represented by the 
dotted part of Fig. 32, The corresponding charges will be made 
to the left with the left leg, and the wand extended to the left, ard 



286 



GYMNASTICS. 



inclining up at an angle of 45 degrees. Employ the Fourth Variety, 
p. 263. This class of charges corresponds to that of No. 230, 
p. 229, which see. Music, Part Fourth, p. 208. 



Second Position. 

No. 64. — At the command. Second — Position, the student will 
take the position of Fig. 33, as explained in No. 28. 




No. 6b.— First Movements. This class only differs from No. 63 
in being executed directly front, left leg first, as represented by the 
dotted part of Fig. 33, the front motions of the wand being made 
from the right side to accompany the left leg, and from the left side 
to accompany the right leg. Music, Part Fifth, p. 208. 



SECOND SERIES. 

First Position. 

No. 66. — The instructor will command : 1. Leg and Foot Exer- 
cise ; 2. Second Series; 3. First — Position. 



288 



GYMNASTICS. 



"No. 61. — At the last command, the student will take the posi- 
tion of Fig. 34. 

No. 68. — First Movements — Right. The charges are made to 
the right and the left, inclining front at an angle of 45 degrees. 
These charges are made in combination with the Arm and Hand 
movements of No. 25, as represented by the dotted part of Fig. 34. 
Employ the Fourth Variety, p. 263. 

No. 69. — Second Movements. The commands of execution are, 
Left, Right, Alternate. The charges are made directly front by 




Fig. 36. 



carrying the wand horizontally over the head and down, on each 
charge from the position, as represented in the dotted part of Fig. 
35, and in like manner back to the front on each recovery of the 
commencing position. Four charges from the position will be made 
with the left leg, four with the right, and eight by alternation. 

No. 70. — Third Movements. This class of movements is formed 
by combining facings, charges, and the Arm and Hand movements of 
No. 25. The student, turning on the left heel, and elevating the 



LEG AND FOOT EXERCISE. 289 

wand front with tlie right hand and carrying it around the left 
shoulder, charges to the left with the right leg, thus executing a 
facing, as represented by the dotted part of Fig. 36, and recovers 
the commencing position four times ; then four corresponding charges 




Fig. 87. 

are made to the right, the left arm being elevated so as to carry 
the wand around the right shoulder ; and finally, eight of these 
charges are made to the left and the right alternately. The Music 
best adapted to this Series will be found on pp. 189, 190, 208, 
and 209. 



290 



GYMNASTICS. 



THIRD SERIES. 

First Position. 

"No. 71. — The instructor will command : 1. Leg and Foot Exer- 
cise ; 2. Third Series; 3. First — Position. 

No. 72. — At the last command, the student will take the posi- 
tion of Fig. 31. 

No. 73. — First Movements — Left. By substituting the letter 
B for c, and c for b, the description of the movements of No. 236, 
p. 230, applies equally well to this class. The foot movements, how- 
ever, are here accompanied with wand movements, as represented by 
the dotted parts of Fig. 3t. 

No. 74. — Second Movements. The commands and the movements 
are the same as those of No. 231, p. 231, the Foot and Arm motions 
being made simultaneously as in Fig. 37. 

Second Position. 

No. 75. — Second — Position. This is the military position, with 
the wand shouldered, as explained in No. 4. 

No. 76. — First Movements — Left. The remaining commands, 
and the Foot movements, are the same as in No. 238, p. 23 L 

No. 77. — Second Movements — Left. This class of movements 
will be executed in accordance with the directions in No. 239, p. 232. 

No. 78. — Third Movements — Left. This class of movements 
only differs from that of No. 243, p. 233, in maintaining the position 
of No. 15, instead of swaying the arms. 

No. 79. — Nearly all the movements of the Arm and Hand Exer- 
cise may be executed in connection with the march. Every time the 
left foot is planted, the wand will he f urthest from the prescribed 
position — the wand being in position every time the right foot is 
planted. The best Music for Marches will be found on pp. 152, 
153, 158, and 161. 



COMBINED EXERCISES. 



291 



Y. 

COMBINED EXERCISES. 

FIRST SERIES. 

First Position. 

No. 80. — The movements of this general division are executed 
by the combined efforts of the students, arranged in couples, each 
couple at first employing only one wand, or doubling their wands as 
illustrated in Fig. 39. Preparatory to the exercise, the students will 
number, as prescribed on p. 121, the ones and twos forming partners. 




Fig. 38. 



No, 81. — The instructor will command: 1. Combined Exercises ; 
2. First Series ; 3. Arm and Hand Exercise; 4. First — Position. 

No. 82. — At the fourth command, the students will take the posi- 
tion of Fig. 38, thus dividing the wand into three equal parts. In 
this position, the ones will stand at the right of the twos. 



292 



GYMNASTICS. 



No. 83. — First Movements — Right. The motions of this class 
will be made from the position sidewise, in Une with the shoulders, 
first to the right, as represented by the dotted part of Fig. 38, the 
left arm of the ones being carried under the wand, as shown by the 
half figure b, Fig. 14. Employ the First Variety, p. 262. 

Second Position. 

No. 84. — At the command, Second — Position, from the position 
of Fig. 38 the students simultaneously take the second position, which 
is that of Fig. 10. 

No. 85. — First Movements. This class only differs from that of 
No. 1 in being executed by the students in pairs. 

Third Position. 

No. 86. — Third — Position. This corresponds to the position 
of Fig. 11 ; see No. 12. 

No. 87. — First and Second Movements. These two classes cor- 
respond respectively to those of Nos. 13 and 14. 

Fourth Position. 

No. 88. — Fourth — Position. This corresponds to the position 
of Fig. 12 ; see No. 16. 

No. 89. — First Movements. This class corresponds to that of 
No. 18. 

Fifth Position. 

No. 90. — Fifth — Position. At this command, the students will 
take the position in the rear corresponding to that of Fig. 1 9, the 
position of their hands upon the wand being relatively the same as 
in Fig. 38. 

No. 91. — First Movements. This class, done by the students 
simultaneously, corresponds to that of No. 35. 

No. 92. — The instructor will hear in mind, that in all the posi- 
tions and movemeiits of the First Series of Combined Exercises, 
the relative position of the hands upon the wand is the same as in 
Fig. 38, and that all the movements may he executed in connection 
with marching. 



COMBINED EXERCISES. 



293 



SECOND SERIES. 

First Position. 

No. 93. — The instructor will command: 1. Combined Uxercises ; 
2. Second Series ; 3. Knee Exercise ; 4. First — Position. 

No. 94. — At the fourth command, the students will take the 
position of Fig. 38. 

No. 95. — First Movements — Right. This class of movements 
only differs from that of No. 52, as illustrated by Fig. 28, in being 
executed by the students in pairs. 

Second Position. 

No. 96. — At the command, Second — Position, the students, 
facing in the same direction, will take the position of Fig. 29, the 
ones at the right end of the wand, and the twos at the left. 

No. 97. — First, Second, and Third Movements. The motions of 
these three classes, made as illustrated by the dotted part of Fig. 29, 
correspond respectively to those of Nos. 155, 156, and 157, p. 200. 



THIRD SERIES. 

First Position. 

No. 98. — The instructor will command : 1. Combined Exercises; 
2. Third Series ; 3. Leg and Foot Exercise ; 4. First — Position. 

No. 99. — At the fourth command, the students will take the posi- 
tion of the dotted part of Fig. 39, in which they stand back to back, 
holding the wand (or two wands doubled, as shown in the Fig.) 
directly over their heads, with their arms inclining a little to the 
front of the body, the thumbs to the rear, the right hands of the 
ones and the left hands of the twos nearest the balls. 

No. 100. — First Movements — Front. These movements will be 
executed from the position, in connection with facings (No. 191, 
p. 215), to the front and the rear, first to the front as represented 
by the solid part of Fig. 39. While making the motions with the 
wand that accompany the facings, the arms will be kept straight. 
Employ the First Variety, p. 262. 



294 



GYMNASTICS. 



Second Position. 

No. 101. — Second — Position. This is the position of Fig. 38. 
Music for the movements of this position, and for those of the posi- 
tion immediately following, on p. 208. 




No. 102. — First Movemeyits. This class is formed by a com- 
bination of arm movements and a charge. The students first charge 
toward the right, inclining front at an angle of 45 degrees, at the 
same time lifting their arms into a vertical position, with the wand 
above their heads, as illustrated by Eig. 40. The corresponding 
motion from the position is made toward the left, inclining front at 
an angle of 45 degrees. Employ the Fourth Variety, p. 263. 

No. 103. — Second Movements. This class of movements only 
differs from that of No. 102 in the direction of the charge, which is 
directly front, left leg first. 



COMBINED EXERCISES. 



295 



Third Position. 

No. 104. — Third — Position. At the first word of this com- 
mand, the ones instantly leave the lines and face the twos, and the 
twos at the same time, retaining the wands, take the position of Fig. 
3t ; at the second, the ones take hold of their partners' wands, the 
right hand of each being nearest the end of the wand, each couple 
thus standing face to face, with the wand held between them, in the 
position of Tig. 3t. 




Fig. 40 



No. 105. — First Ilovements — Right. At this command, the 
partners simultaneously step from the point a, Fig. 37, to the point 
c, carrying the wand out to the right of the ones into a vertical posi- 
tion, as shown by the dotted figure c, when they step to the point b, 
the wand j^assing between them to the left of the ones into the posi- 
tion of the dotted figure b. This swaying motion from side to side 
will thus be continued until thirty-two steps have been taken. At 
the command, Halt, or on the thirty-second step, the commencing 
position will be resumed at the point a. This class corresponds to 
that of iSTo. 236, p. 230. 



296 



GYMNASTICS. 



No. 106. — Second Movements. The second class of movements 
of this position is formed by the union of facings and the side charge. 
The students charge sidewise, first to the right of the ones, and at 
the same time execute a 
facing by turning on the 
heels that are fixed and 
lifting the wand into a ver- 
tical position, as rej^resent- 
ed in Fig. 41. Employ the 
Fourth Variety, p. 263. 

No. 1 7.— Third Mo de- 
merits — Forward. At this 
command, the couples all 
advance sidewise in the 
same direction, the twos 
within the circle, or nearest 
the center of the room. 
They move forward in the 
direction of the right arm 
of the ones, elevating the 
advanced arms and lower- 
ing the arms "in the rear, 
thus holding the wand inchning up at an angle of 45 degrees. 
The motions are made by simultaneously sliding forward the right 
foot of the ones and the left foot of the twos, and then instantly 
lifting the feet in the rear and placing them immediately behind the 
advanced feet. This . movement is repeated until eight slides are 
executed with the advanced feet, when the couples turn so as to bring 
the twos on the outside of the circle, or nearest the outside of the 
room, lowering the arms that were up and elevating the ones thus 
brought to the front, and continue in the same direction, executing 
eight of these slides with the feet thus brought to the front, when the 
commencing position is instantly resumed. The students thus con- 
tinue, executing the movements without touching their heels, until 
otherwise commanded. Music for this class on pp. 161 and 206. 




Fig. 41. 



Fourth Position. 

No. 108. — At the command, Fourth — Position, the students 
will take the position of Fig. 42, in which they face in the same 



COMBINED EXERCISES. 



297 



direction, and hold the wand at arm's length immediately over the 
head, the right hand being behind the left^ and the thmnbs to the 
rear. 

No. 109. — First 3fovements — Right. In executing this class of 
movements, the students simultaneously mark time (No. 238, p. 231), 
and make the motions of the Arm and Hand Exerc'se of Fig. 42. 




Fig. 42. 



The wand is brought down upon the shoulders, first upon the right, 
as represented by the dotted part of the Fig., and up into the com- 
mencing position. Employ the Fourth Variety, p. 263. The ivand 
is brought down upon the shoidders every time the left foot is 
planted. 

No. 110. — Seco77d Movements. This class of movements only 
differs from that of Xo. 108 in combining the March (No. 239, 
p. 232) with the Arm and Hand Exercise. 



298 



GYMNASTICS. 



FOURTH SERIES. 

First Position. 

No. 111. — The instructor commands: 1. Combined Exercises; 
2. Fourth Series; 3. First — Position. 

No. 112. — At the third command (the ones having previously 
recovered their wands, and the students having been drawn up in 
lines, facing each other, a wand's length apart), each right hand will 
extend a wand, and 
each left hand at 
the same time will 
receive the end of 
the wand thus ex- 
tended, when the 
partners will in- 
stantly take the 
position of the sol- 
id part of Fig. 43, 
in which the arms 
are extended side- 
wise horizontally. 
In executing the 
movements of this 
position, the com- 
mands of execu- 
tion apply literally 
only to the ones. 
At the command. 
Right, for exam- 
ple, the twos will 
employ the left 
member ; and, at 
the command. Left, the oHght member. 

No. 113. — First, Second, Third, and Fourth Movements. The 
first class of movements from this position is executed directly down 
by the sides into the position of the lower dotted arms of Fig. 43, 
in accordance with the Second Variety, p. 262. The second class 
only differs from the first in being executed directly up into the posi- 




COMBINED EXERCISES. 



299 



tion of the upper dotted arms of Fig. 43. The first and second 
classes are combined to form the third class, both wands moving 
simultaheouslj, first dovm, in accordance with the Sixth Variety, 
p. 263. In the fourth class, the wands will be moved as prescribed 
in No. 102, p. Its. 

Second Position. 

No. 114. — Second — Position. This position is taken from the 
first position by simply lowering the wands into the position of the 
lower dotted arms of Fig. 43. 




Fig. 44. 



No. 115. — First Movements' — Kight. At this command, the 
students will take the position of Fig. 44, and recover the commen- 
cing position four times ; then, at the command, Left, four corre- 
sponding motions from the position will be made by elevating the 
left hands ; then, at the command. Alternate, four of these motions 
from the position will be made by alternation, the right hands being 
first elevated ; and finally, at the command, Reciprocate, eight of 



300 



GYMNASTICS. 



these motions will be made by reciprocation, the left hands passing 
up at the same time the right hands are descending, and vice versa. 
In executing these movements, the arms icill he kept straight, and the 
wands loill be brought together by all the students simultaneously. 




COMBINED EXERCISES. 



301 



No. 116. — Second Movements. This class is a combination of 
front charges and arm movements, the first motions from the posi- 
tion being made front with the right arms and left legs, placing the 
left feet side by side, as represented by the dotted part of Fig. 45. 
Employ the Fourth Variety, p. 263. 

Third Position. 

No. 117. — At the command. Third — Position, the partners will 
face in the same direction, as seen in Fig. 42, and take the position 
under the shoulders illustrated in Fig. 46, the ones being in front 
of the twos. 

No. 118. — First, Second, Third, and Fourth Movements. The 
first class of movements from this position will be executed directly 
down to the position of the dotted arms a and b. Fig. 46 ; the 
second, directly out to the position of the dotted arms c and d ; 
the third, out and up to the position of the upper dotted arms of 
Fig. 43 ; and t\\Q fourth, directly front, the wands passing under the 
upper arms of the ones. For each class of movements, employ the 
Third Variety, p. 262. 

No. 119. — Fifth Movements. This is a combination of the 
first four classes of movements of this position. At the command, 
Right, the right arms make the first motion of the first class of 
movements, and recover the commencuig position ; the first, of the 
second ; the first, of the third ; and the first, of the fourth. At the 
command, Left, the left arms make the same number of correspond- 
ing motions ; and finally, at the command. Both, the right and left 
arms execute these four motions from the position simultaneously, 
and immediately repeat their execution. 

Fourth Position. 

No. 120. — Fourth — Position. This only differs from the third 
position in being taken upon the shoulders, with the backs of the 
hands up and the thumbs to the rear, as represented in Fig. 47. 

No. 121. — First, Second, Third, Fourth, and Fifth 3fovements. 
These five classes correspond respectively to those of the third posi- 
tion (Nos. 118 and 119), the fi^st being made directly up into the 
position of the dotted arms a and b, Fig. 47 ; the second, directly 
14 



302 



GYMNASTICS. 



•A 



out to the position of the dotted ams c and d ; the third, directly 
down, as shown by the dotted arm e ; the fourth, directly front, the 
wands being drawm across the shoulders of the ones ; and the fifth, 
by a combination of 
the first four classes, 
as explained in No. 
119. In executing 
the movements of 
the first four classes, / 
employ the Third / 

Variety, p. 262. \% 

-No.l22.-Sixth S"--- 
Movements. This ' 
class of movements 
is a combination of 
the first and third 
classes of this posi- 
tion, the motions 
being made with 
both wands simul- 
taneously, first with 
the right arms into . 
the position of the 
dotted arm a, and 
the left arms into 
that of E, employ- 
ing the Sixth Va- 
riety, p. 263. 

No. 123. — The eleven classes of movements last given (Xos. 118, 
119, 121, and 122), will frequently be executed in connection with 
the March, as explained in '^o. 239, p. 232, the ivands being in the 
commencing positioi} every time the right foot is planted. During 
reviews and public exhibitions, the instructor will usually observe 
the direction given in Ko. 27, p. 143. 




Fig. 47 



CHEST EXERCISE. 



303 



DUMB-BELL EXERCISES. 



I. 

CHEST EXERCISE. 

FIRST SERIES. 

First Position. 

No. 1. — Immediately after the formation of the class, as is pre- 
scribed on p. 125, the instructor commands: 1. Attention — Class; 
2. Chest Exercise ; Z. First Series ; A. First — Position. 

No. 2.— At the first word of the first command, the students will 
fix their attention ; at the second, they will take the habitual or 
military position of the Dumb-bell Exercises, in which the bells, 
without touching the thighs, are held directly sidewise, with the backs 
of the hands to the rear, as in Fig. 1. 

No. 3. — At the last command of Xo. 1, the students will take 
the position of Fig. 2, in which the balls near the thumbs are placed 
upon the breast, the bells inclining front and sidewise. 



^ * Directions. — The instructor Avill 
carefully read the explanations and 
directions in Calisthei^ics, from 
p. 118 to p. 136 ; the descriptions of 
the various modes of marking time 
in connection with Movements, from 
p. 143 to p. 149, inclusive ; and the 
Introduction to Gymnastics, com- 
mencing on p. 251, and ending on 
p. 263, before attempting to teach 
the Dumb-bell Exercises. He is 
reminded that all motions from, and 
to recover, the given positions, must 



be made instantly — marked pauses, 
of suincient length to fill out the 
measure, occurring both at the great- 
est distance from, and upon the re 
covery of, the commencing position ; 
that the breathing, which sJiould be 
quiet and deep,liL all cases is carried 
on through the nose, the mouth be- 
ing shut ; and that, to avoid alarm- 
ing, discouraging, or permanently in- 
juring the student, all exercise should 
legin and end moderately, especially 
during the first few days. 



304 



GYMNASTICS. 



No. 4. — First, Second, and Third 
Movements. The first class of move- 
ments is executed directly to the sides 
and down, thus describing the arcs 
A B and A c, Fig. 2 ; the second, di- 
rectly sidewise in line with the shoul- 
ders, as represented by the dotted 
arms d and e ; the third, up and 
sidewise at an angle of 45 degrees, 
as represented by the dotted arms 
F and G. It will be seen that, in 
making all the motions of this posi- 
tion, the bells are turned completely 
over, and the balls near the thumbs 
pointed out and back, as represented 
by the dotted bells b, c, d, e, f, and g. 
For each of these classes, employ the 
Third Variety, p. 262. Music on 
p. 150. 

Second Position. 

No. 5. At the 

command, Secoyid 

Position, the students 
will take the position 
of Fig. 3, in which the 
upper arms and the el- 
bows are pressed firmly 
against the sides, the 
thumbs are turned out, 
the backs of the hands 
are to the front, and 
the bells are horizon- 
tal. 

No. 6. First, 

Second, and Third 
Movements. The mo- 
tions of the Jirst class 
of movements will be 




CHEST EXERCISE. 



305 



made directly down into the position of 
Fig. 1 ; of the second, directly front, the 
full length of the arm, in line with the 
shoulders ; of the third, directly up the full 
length of the arm. During all the stages 
of execution, the dumb-bells will be held 
perfectly horizontal. For these three 
classes, employ the Third Variety, p. 262. 
Music on p. 151. 




Fia. 3. 



Third Position. 



K"©. 7. — At the command, Third — Position, the student will 
take the position of Fig. 4, in which the forearms are placed against 



the waist, the backs of the hands are turned 
out, and the bells are vertical. 

No. 8. — First, Second, and Third Move- 
ments. The motions of the first class are 
made to the front, inclining down at an angle 
of 45 degrees ; of the second, directly front 
in line with the shoulders ; of the third, front, 
inclining up at an angle of 45 degrees. These 
three directions are illustrated by the dotted 




arms b, c, d. Fig. 15, p. 138. Employ the Fig. 4. 

Third Variety, p. 262. Music on p. 150. 



"No. 10. — First, Second, and Third Movements, The motions, 
of these three classes are made in the directions given in No. 14, 
p. 139, the palms being kept to the rear, or out. Employ the Second 
Variety, p. 262. Music on p. 151. 



No. 9. — At the command, Fourth — Posi- 
tion, the students, taking the hall grasp, will 
instantly carry the bells to the rear, placing 
the backs of the fists back of, and upon, the 
hips, as in Fig. 5. The lower balls, however, 
must be kept as far apart as the upper, the 
bells being vertical and parallel. 



Fourth Position. 




Fig. r>. 



306 



GYMNASTICS. 



No. 11. — The instructor will frequently 
permit the students to rest, as explained 
on p. 149. At the command, In place — 
Rest, unless otherwise directed, the bells 
will always be held as in Fig. 6. This is 
also the usual position of the bells while 
executing the March (No. 239, p. 232), 
though the preferable position is that of 
Fig. 7, in which the backs of the hands are 
within and the thumbs to the rear. This 
last position is a valuable exercise in itself, 
tending to project the chest, throw back 
the shoulders, and strengthen the spine. 



SECOND SERIES. 
First Position. 

No. 12. — The instructor will command : 
1. Chest Exercise; 2. Second Series; 3. 
First — PosiTiox. 

No. 13. — At the last command, the 
student will take the first position of the 
First Series, No. 3. 

No. 14. — First Movements. This is a 
combination of the three classes of move- 
ments of No. 4. At the command. Right, 
the right arm makes the first motion of the 
first class of movements, and recovers the 
commencing position ; the first, of the sec- 
ond; the first, of the third ; and again, the 
first of the second. At the command, Left, 
the left arm makes the same number of 
correspondmg motions ; and finally, at the 
command. Both, both arms execute these 
four motions from the position simultane- 
ously, and immediately repeat their exe- 
cution. 



CHEST EXERCISE. 



307 



No. 15. — Second Movements. This is a combination of the first 
and third classes of movements of l^o. 4. The first double motion 
is made into the position of the dotted arms b and g, Fig. 2. Em- 
ploy the Sixth Variety, p. 263. 

Second and Third Positions. 

No. 16. The second 

position is the same as that 
of No. 5 ; the third, as that 
of No. 7. The two classes 
of movements from each of 
these positions correspond 
respectively to those of Nos. 
14 and 15. 



Fourth Position. 

No. 17. At the com- 

mandj Fourth Position, 

the student will take the po- 
sition of Fig. 8, in which the 
bell in the left hand is placed 
horizontally upon the breast. 
The movements of this posi- 
tion will be found especially 
valuable for exercise with 
iron dumb-bells. 

No. 18. First Move- 
ments Right. At this 

command, the right arm will 
make first motion to the 
rear, into the position of the 
lower dotted arm of Fig. 8, and recover the commencing position ; 
the second, directly to the right, into the position of the middle 
dotted arm ; the third, into the position of the upper dotted arm ; 
and the fourth, the same as the second. These four motions will 
be made twice with the right hand, when, at the command, Left, 
the position will instantly be taken with the right hand upon the 
breast, and eight corresponding motions from the position will be 




308 



made with the left hand. On each recoYerv of the commencing 
position, the balls will be brought together with sufficient force to 
mark the time. 



II. 

SHOULDER EXERCISE. 



FIRST SERIES. 



First Position. 

No. 19. — The instructor will command: 1. Shoulder Exercise^ 
2. First Series; 3. i^/rs^— Position. 

No. 20.— At the 
third command, the 
student will take the ...... 

position of Fig. 9. ■ 

No. 21.— First, "c 
Seco?id, and Third 
Ilovernents. The mo- 
tions of the^/??'8^ class 
of movements are 
made directly down 
into the position of 
the dotted arms a 
and A, Fig. 9 ; of the 
seco?id, du'ectly out 
from the sides into 
the position of the 
dotted arms c and 
c ; of the third, di- 
rectly out and up 




Fig. 9. 



into the position of the upper dotted arms of Yh 
class, employ the Third Variety, p. 262. 



13. For each 



SHOULDER EXERCISE. 



309 



Second Position. 

No. 22. — At the command, Second — Position, the student will 
place both bells vertically against the shoulders in front, where the 
arms and shoulders join, with the elbows as high as the shoulders, 
as shown bv the right arm of Fig. 10. 

No. 23. First, Second, and 

Third Movements. The first class 
of movements from this position is 
executed directly front, the full length 
of the arm ; the second, by carrying 
the forearms dh-ectly out sidewise in 
line with the breast ; the third, the 
same as the second, with the addition 
of carrying the arms as far to the rear 
as possible. The bells must be held 
vertically during the execution of 
these movements. Employ the Third 
Variety, p. 262. 

Third Position. 

No. 24. — At the command, Third — Posmox, the student will 
place both bells upon the shoulders, where the arms and shoulders 
join, as shown by the left arm of Fig. 10, 

No. 25. — Fii'st, Second, and Third Movements. The motions 
of the jfirst class will be made directly up the full length of the arm ; 
of the second, directly sidewise, with the bells as high as the shoul- 
ders ; of the third, sidewise and down into the position of Fig. T. 
In all of these movements the bells are horizontal, and the thumbs 
to the rear. Employ the Third Variety, p. 262. 

No. 26. — Combined Movements.^ Two classes of combined 
movements, corresponding to those of Nos. 14 and 15, will be exe- 
cuted from each of the three positions of Shoulder Exercise. 




' Vocal Combinations. — The in- 
structor is again reminded of the 
importance of combining vocal exer- 
cises with gymnastic movements, in 
order to practice the lungs and the 
organs of speech, thus enlarging the 
chest ; giving strength, compass, va- 
rietv, and sweetness to the voice ; 
14* 



and securing a distinct and perfect 
articulation. Let the student daily 
practice some of the Varieties of Vo- 
cal Exercises (p. 143), and Bespiratory 
Exercises (see p. 13 ; also No. 40, p. 
276), in connection with C7iest and 
BTioidder Exercises, even when accom- 
panied with instrumental music. 



310 



GYMNASTICS. 



III. 

ELBOW EXERCISE. 



FIRST SERIES. 

First Position. 

No. 27. — The instructor will command: 1. Elhoiu Exerci^<e ; 2. 
First Series; 3. First — Positiox. 

No. 28. — At the last command, 
the student will take the position of 
Fig. 11, which is the same as No. 3. 

No. 29. — First, Second, and 
Third Movements. The first class 
of movements from this position is 
made toward the rear, inclining down 
at an angle of 45 degrees, as repre- 
sented by the lower dotted right 
arm, Fig. 11 ; the second, directly 
back as far as possible, as represent- 
ed by the left dotted arm ; the third, 
back inclining up at an angle of 45 degrees, as represented by the 
upper dotted right arm. In executing the movements of each of 
these three classes, in accordance with the Third Variety, p. 262, 
the hells must he drawn from the hreast without turning them, or 
varying the hend of the elhow. Two classes of combined move- 
ments, corresponding to those of Nos. 14 and 15, may also be exe- 
cuted from this position. 

Second Position. 

No. 30. — Second — Position. At this command, the student will 
take the position of Fig. 12, in which the backs of the fists rest upon 
the hips, with the thumbs to the rear. 




ARM AND HAND EXERCISE. 



311 



No. 31.— Fij^st Movements. The 
class of movements from this position 
is executed by forcing the front balls of 
the bells and the elboAvs directly out 
and back as far as possible, as repre- 
sented by the dotted part of Fig. 12, 
the rear balls turning upon the hips. 
Employ the Third Variety, p. 262. 




Fig. 12. 



lY. 

ARM AND HAND EXERCISE. 



FIRST SERIES. 



First Position. 

No. 32.— The in- 
structor will com- 
mand : 1. Arm and 
Hand Exercise; 2. 
First Series; 3. First 
— Position. 

No. 33.— At the 
third command, the 
student will take the 
position of Fig. 13, 
with the thumbs front 
and the bells at a 
and c. 

No. 34. First 

and Second Ifove- 
ments. The ^rs^ class 
of movements is exe- 
cuted out at the sides 
by elevating the arms 




Fig. l-S. 



312 



GYMNASTICS. 



as high as the shoulders, as represented by the dotted arms b and d, 
thus describing the arcs a b and c d ; the second, by describing the 
entire arcs a b e and c d f. For each, employ the Third Variety, 
p. 262. 

No. 35. — Third Movements. This class of movements is some- 
times called the Shoulder Trial. The motions are made with both 
bells simultaneously ; first, by raising the bells into the position of 
B and D, Fig. 13 ; second, by extending the arms to the front and 
striking the front balls together with sufficient force to mark the 
time, thus taking the position of the solid arms of Fig, 16 ; third, 
by recovering the position at b and d ; and fourth, by raising the 
bells, without stopping at the points e and f, and striking the four 
balls together over the head with sufficient force to mark the time. 
The fifth, sixth, seventh, and eighth double motions are made by 
describing the first four motions inversely, thus bringing the bells 
back to the commencing position at a and c. These eight motions 
will be made four times. 

No. 36. — Fourth, Fifth, and 
Sixth Movements. These three 
classes of movements correspond 
respectively to the first, second, ^ ' 
and third : the fourth being made 
directly to the front, thus de- 
scribing the arc a b. Fig. 14 ; c 
the fifth describing the entire 
arc A B D, without pausing at b ; 
and the sixth, by making the 
motions with both bells simul- 
taneously, as follows : first, both E - 
bells are carried up to the point 
B, being brought together with 
sufficient force to mark the time ; 
second, they are forced out and 
back as far as possible, in line with the shoulders, as at c ; third, 
they are carried front to the point b ; and fourth, they are elevated 
to the point d, when these four motions are described inversely, the 
bells thus recovering the commencing position at a. The bells will 
thus pass up to the point d and recover the commencing position 
four times, being struck together only on each arrival at b. 




ARM AND HAND EXERCISE. 



313 



Second Position. 

No. 37. — At the 

command, Second — 
Position, the student 
will take the position -k^'i' 
of Fig. 15, in which " 
the bells are held to- C 
gether in a vertical po- 
sition at arm's-length 
in front of the breast, 
the upper balls being 
in line with the chin. 

No. 38. First, 

Second, Third, Fourth, 
and Fifth 3Iovements. 
The motions of the first 
class are made into the 
position of the dotted 
arms a and b, Fig. 15 ; 
of the second, into that 
of c and d ; of the third, 
into that of e and f. 
Employ the Third Va- 
riety, p. 262, for each 
class. The fourth and 
fifth classes correspond 
respectively to those of 
Nos.l4andl5. On each 
recovery of the com- 
mencing position, the 
bells will be brought 
together with sufficient 
force to mark the time. 

^ Third Position. 

No. 39.— At the 

command. Third — Po- 
sition, the student will 




Fig. 16. 



314 



GYMNASTICS. 



take the position of Fig. 16, in wMch tlie arms are extended 
directly front their full length ; the bells are held horizontally, 
with the balls near the thumbs together; and the backs of the 
hands are up. 

'No. 40. — -First Movements. The motions of this class are made 
directly back into the position of the dotted part of Fig. 16, the 
bells being turned completely over on each motion. At the command. 
Right, the right arm will make this motion to the rear four times ; 
then, at the command, Left, the left arm will make four correspond- 
ing motions to the rear ; and finally, at the command, Both, eight of 
these motions to the rear will be made with both arms simultane- 
ously, the same balls being struck 
together in the rear as in front, 
to mark the time. 



Fourth Position. 



No. 41. 



■At the command. 



Fourth Position, the position 

will be taken at the left side, as 
illustrated in Fig. 17, the balls near 
the thumbs being together, and the 
backs of the hands out. 

No. 42. — First Movements — 
Right. At this command, the stu- 
dent will describe the dotted arc of 
Fig. It, turning the bell completely 
over, and striking the balls to- 
gether both in the front and in the 
rear, and recover the commencing 
position eight times. On the eighth 
motion to the front, however, at 
the command. Left, the position 
will instantly be taken on the right 
side, and the left arm will make 
eight corresponding motions from 
the position. 




Fig. 17. 



ARM AND HAND EXERCISE. 



315 



SECOND SERIES. 



First Position. 

No. 43. — The instructor will command : 1. A7^m and Hand Exer- 
cise; 2. Second Series; 3. First — Position. 

No. 44. — At the third command, the student will take the posi- 
tion of Fig. 18, with the arms by the sides, as represented by the 
dotted arms a and a. This is also the position of Fig. 6 ; see No. 1 1 . 

No. 4:b. — First Move- 
ments. The first motions D . , , - ^ 
of this class are made by / i ; 
turning the front balls with- 
in and back, thus reversing 
the position of the balls, 
carrying the thumbs to the 
rear, and turning the palms V'---.- 
out ; the second, by turn- □ 
ing the front balls out to 
the sides, and thus takhig 
the position of Fig. 1. At 
the command, In, the first 
motion is made and the 
commencing position re- 
gained four times with both 
bells simultaneously ; then, 
at the command. Out, four 
outward or second motions 
are made from the position 
with both bells simultane- 
ously ; then, at the command. Alternate, these motions are made 
by alternation until the commencing position is regained the fourth 
time ; when, at the command, Both, eight of the first and second 
motions are combined, the bells pausing in the commencing position 
only on the eighth combined motion. 




Fig. 18. 



Second Position. 

No. 46. — At the command, Second — Position, the student will 
take the position by elevating the arms into the position of the 



316 



GYMNASTICS. 



dotted arms b and b, in which the bells are vertical and the palms 
to the front. 

ITo. 47. — The number and order of the motions of this class of 
movements are the same as in No. 45. The first motions, at the 
command. Front, are made by turning the upper balls to the front, 
and down into the position of the balls b and b ; the second, at the 
command, Rear, by turning the upper balls to the rear, thus placing 
the bells in a horizontal position with the palms up. 

No. 48. — Second and Third Movements [Wrists), In the sec- 
ond class of movements, the motions are made sidewise by the action 
of the wrists, the upper balls being 
pointed to the right and the left as 
far as possible, without changing the 
position of the arms, as represented 
by the wrists of the arms a and b, 
Fig. 19 ; in the second, the bells arc 
turned into a horizontal position with 
the backs of the hands up, without 
changing the position of the arms, 
and the motions are made directly down and up as far as possible by 
the action of the wrists, as shown by the right arm of Fig. 46. For 
each of these two classes, employ the Third Variety, p. 262, It 
must be remembered that the commencing position is only regained 
with each bell at a command of execution, or on each change in 
the order of making the motions. 

Third Position. 

No. 49. — At the command. Third — Positiox, the student will 
take the position of the solid arms c and c. Fig. 18, in which the 
bells, held vertically, are extended directly to the front, at arm's- 
length, in line with the shoulders. 

No. 50. — First, Second, and Third Movements. These three 
classes of movements correspond respectively to those of Nos. 4t and 
48, the necessary changes in the words of command being made in 
accordance with the change of the position. 

Fourth Position. 

No. 51. — At the command, i^our^/i— Position, the arms will be 




ARM AND HAND EXERCISE. 



317 



extended vertically, with the thumbs to the rear, thus taking the 
position of the dotted arms d and d. Fig. 18. 

No. 52. — First Movements. The first motions of this class are 
made by turning the front balls out and back, thus reversing the 
position of the balls, carrying the thumbs to the front, and turning 
the backs of the hands within ; the second, by turning the backs of 
the hands to the front and the thumbs out. The number and the 
kind of motions are the same as in No. 45. 



THIRD SERIES. 

First Position. 

No. 53. — The instructor will command : 1. Arm and Hand Exer^ 
cise ; 2. Third Series; 3. First — Position. 

No. 54. — At the third command, the stu- 
dent will take the position of Fig. 20, in which 
the forearms, held about four inches apart, cross 
each other, the right above the left, with the 
palms up. 

No. 55. — First 3Iovements. The motions 
of this class, ivhich are all made in front of the 
body ivith the backs of the hands down, are re- 
ciprocating, one bell ascending at the same time 
that the other is descending. At the command. 
In, first the right hands ascend and the left 
hands descend (thus being separated as far as possible in front of 
the body), when circles are described by the bells passing around 
each other, the descending bell passing ivithin or nearer the body, 
and the elbows being bent in front of the waist, to permit the 
passage of the bells between them. The fourth time the bell in the 
right hand descends to the lowest point, the command. Out, will be 
given, when the direction of the circles will be reversed, the descend- 
ing bell passing ivithout or further from the body. The fourth time 
the bell in the right hand reaches the lowest point, descending ivith- 
out, the command, Alternate, will be given, when these motions will 
be made by alternation (the right hand first ascending without and 
descending within, and then ascending within and descending without), 




318 



GYMNASTICS. 



until each bell has ascended and descended eight times, when the 
commencing position for the first time will be resumed. 

Second Position. 

No. 56. — Second — Position. This only differs from the first 
position, No. 54, in holding the bells with the backs of the hands up. 

No. 57. — First Movements. This class of movements only differs 
from that of No. 55 in making the motions with the backs of the 
hands up. 

Third and Fourth Positions. 

No. 58. — At the command, Third — Position, the student will 
take the position of Fig. 21, in which the bell in the right hand is 
about four inches from the left forearm, and 
the bell in the left hand about four inches from . 
the breast, the thumbs being up and the backs 
of the hands to the front. — Fourth — Position. 
This only differs from the third position in hold- 
ing the thumbs down and the palms to the front. 

No. 59. — First Movements. The first and 
only class of movements of the third position is 
described in the dotted circles of Fig. 21, the 
number and order of the motions being the same 
as in No. 55. The first class of movements of 
the fourth position only differs from that of the 
third in being executed with the thumbs down 
and the palms to the front. 

Fifth and Sixth Positions. 

No. 60. — Fifth — Position. This is the position of Fig. 1. — 
Sixth — Position. This only differs from the fifth position in holding 
the backs of the hands to the front and the thumbs in. 

No. 61. — First Movements. The first and only class of move- 
ments of the fifth position is described in large side-circles like that 
of Fig. 57, p. 185. The side circles will he made in the direction 
of the palms. At the command, Right, from the position of Fig. 1 
the right arm will describe eight full circles ; at the command, Left, 
eight corresponding circles will be made with the left arm ; at the 
command, Alternate, eight of these circles will be made by alterna- 




FiG. 21. 



TRUNK AND WAIST EXERCISE. 



319 



tion, the left arm commencing a circle at the instant the right arm 
has regained its commencing position, thus rendering the motions 
continuous ; and finally, at the command, Both, eight double circles 
will be described with both arms simultaneously. The first class of 
movements of the sixth position only difi'ers from that of the fifths 
in describing the circles in a contrary direction. 



y. 

TRUNK AND WAIST EXERCISE/ 

FIRST SERIES. 

First Position. 

1^0.62. — The instructor will command: 1. Trunk and Waist 
Exercise; 2. First Series ; 3. Fir^st — Position. 

No. 63. — At the third command, the student will take the posi- 
tion of the dotted part of Fig. 22, which is the same as that of 
Fig. 7, the thumbs being turned back as far as possible. 

No. 64. — First 3Iovements. The motions of this class are made 
by bending the trunk, at the hips, sidewise, and simultaneously lifting 
the arm from the side on which the flexion does not occur, into a 
vertical position, first to the right, as represented by the solid part 
of Fig. 22. Employ the First Variety, p. 262. Music for this Series 
on p. 181. 

Second Position. 

No. 65. — At the command, Second — Position, the student will 
take the position of Fig. 6 



' This Exercise, taken for twenty 29, if tlioroughly employed, will also 
minutes daily, is a sure preventive speedily relieve constipated bowels, 
and cure for dyspepsia and torpid enabling the student to dispense 
liver, with all their attendant evils, with physic, which is merely a poor 
The movements of the Second Series, substitute for exercise and temper- 
as illustrated by Figs. 26, 27, 28, and ance. 



320 



GYMNASTICS. 



No. 66. — First Movements. 
The motions of this class are 
made from the position, first, by 
bending the trunk to the front, 
and simultaneously carrying the 
arms back and up into a vertical 
position, as represented by the 
solid part of Fig. 23 ; second, 
by bending the trunk to the rear, 
and simultaneously carrying the 
arms front and up into the posi- 
tion of the dotted part of Fig. 
23. These motions must not he 
made rapidly. Employ the First 
Variety, p. 262 

Third Position. 

No. 67. — At the command, 
Third — Position, the student 
will take the position of Fig. 24, 
in which the bells, held by the 
hall grasp, the backs of the hands 
being up, are extended directly 
side wise in line with the shoulders. 

No. 68. — First Movements. 
The class of movements of this 
position will be made directly 
sidewise, without bending the 
knees ; first to the right, as rep- 
resented by the dotted part of 
Fig. 24. The bell will be struck 
upon the floor with sufficient 
force to mark the time. Employ 
the First Variety, p. 262. 

Fourth Position. 

No. 69. — Fourth — Position. 
This only differs from the position 
of 1^0. 67 in being taken directly 
to the front, as in Fig. 25. 




Fig. 23 



322 



GYMNASTICS. 



No. 70. — First Movements. This only differs from that of No. 
68, in being described to the front and the rear, as represented by 
the dotted parts of Fig. 25. 




SECOND SERIES. 

First Position. 

No. 71. — The instructor wiil command; 1. Trunk and Waist 
Exercise; 2. Second Series ; 3. First — Position. 

No. 72. — At the third command, the student will take the posi- 
tion of Fig. 26, in which the bells are held with the balls near the 



TRUNK AND WAIST EXERCISE. 



323 



thumbs toward each other, and the trunk and head incline toward 
the right and to the rear. 

No. 73. — First Movements. The student will describe the dot- 
ted circle of Fig. 26, from the commencing position, with both bells 
simultaneously, thus taking the position of Fig. 2T four times. The 
fourth time the position of Fig. 2t is taken, instead of recovering 
the commencing position, the student will take a position corre- 
sponding to that, at the 

left, when the same num- ^ 
ber of corresponding cir- .-..(" \-{-' \ 
cles will be described by ;. , 

bending the trunk around \ \, \. , 

and back of the right hip ; 
and finally, sixteen circles 
will be described from 
the position of Fig. 27 to 
a coiTesponding position 
taken over the right hip, 
without pausing in the 
position of Fig. 26. Mu- 
sic for this Series on p. 
188. 

Second Position. 

No. 74. — At the com- 
mand. Second — Position, 
the student will take the 
position of the dotted part 
of Fig. 28, in which the 
student faces the instruct- 
or, with the bells extended 
horizontally to the right, 
and the palms down. 

No. 75. — First Movements. The number and order of the mo- 
tions of this class are the same as in that of No. 73 ; but, in exe- 
cuting the movements, the bells are swung round horizontally, and 
the trunk, held vertical, is stretched over the hip as far as possible, 
as though one with his feet immovable were trying to turn his back 
completely to the front, as represented by the solid part of Fig. 28. 




Fig. 29. 



324 



GYMNASTICS. 



Third Position. 

No. 76. — At the command, Third — Position, the student will 
take the position of the dotted part of Fig. 29, in which the heels 
are about twice the length of the foot apart. 

No. 77. — First Movements. The first motions of this class are 
made by placing the bells upon the floor in front of the student four 
times, tvithout bending the knees, as represented by the lower dotted 
arms and bells of Fig. 29 ; the second, by bringing the bells down 
and back as far as possible between the legs four times, as repre- 
sented by the solid part of Fig. 29 ; then, at the command, Alter- 
nate, eight of these motions from the commencing position are made 
by alternation. 



YI. 

KNEE EXERCISE. 

FIRST SERIES. 

First Position. 

No. 78. — The instructor will command: 1. Knee Exercise ; 2. 
First Series; 3. First — Position. 

No. 79. — At the third command, the student will take the posi- 
tion of Fig. 30, in which the bells are in the same position as in 
Fig. 9, and the feet in the j^rs^ jwsition of No. 154, p. 199. 

No. 80. — First and Second Movements. These two classes arc 
the same respectively as those of Nos. 155 and 156, the bells being- 
placed upon the floor on each downward motion, as seen in the 
dotted part of Fig. 30. 

Second Position. 

No. 81. — At the command, Second — Position, the student will 
take the position of Fig. 31, in which the arms are elevated verti- 
cally in line with the head, and the feet are in the ninth position 
of No. 154, p. 199. There are no movements better adapted to 



KNEE EXERCISE. 



325 



teach the student to maintain 
his equilibrium under the mod 
trying circumstances, than those 
of this position. 

No. 82. — First Movements. 
This class is the same as that of 
No. 15t, p. 200, the bells being- 
lowered sidewise, without bend- 
ing the arms, and placed upon 
the floor on each downward mo- 
tion, as seen in the dotted p&vt 
of Fig. 31. On each upward 
motion the bells are struck to- 
gether over the head, only paus- 
ing in the commencing position 
on the sixteenth upward motion. 

No. 83. Second Move- 
ments. In executing this class 
of movements, the student stands 
on one leg only at a time, the 
other being bent behind as 
shown in Fig. 80, p. 203. At 
the command. Sink, the stu- 
dent, standing on his right leg, 
with his left leg bent and his 
arms in the position of Fig. 31, 
will slowly lower his body and 
his right arm until the left knee 
and the bell in the right hand 
simultaneously touch the floor, 
when gradually, and without 
springing, he rises to the com- 
.mencing position. This down- 
ward motion will be made eight 
times, when, at the command, 
Chaxge, eight corresponding 
downward motions will be made 
by standing on the left leg, and 
lowering the right knee and the 
left arm. 

15 




Fig. 31. 



326 



GYMNASTICS. 



SECOND SERIES. 
First Position. 

No. 84. — The instructor will command : 1. Knee Exercise; 2. 
Second Series; 3. Fii^st — Position. 

No. 85. — First — Position. This is the position of Fig. 6. 

No. 86. — First Movements — Right. At this command, the stu- 
dent will first stamp with the left foot, and then immediately step to 
. the right, bearing to the front at an angle of 45 degrees, with a 
stamp of the right foot, placing about four times the length of the 




Fig. 32. 



foot between the heels, thus taking the position of Fig. 32. The 
movements are continued by making the motion of the dotted part 
of Fig. 32 from this position seven times, when the commencing 
position is instantly recovered by placing the right foot beside the 
left, in the original or military position; then, at the command. 
Left, the student first stamps with the right foot, and then stamps 
with the left foot into a position to the left inclining front, corre- 
sponding to that of the solid part of Fig. 32, and makes seven 
outward motions corresponding to the dotted part of Fig. 32, after 
which the original position is regained. 



KNEE EXERCISE. 



327 




Fig. 84. 



328 



GYMNASTICS. 



No. 87. — Second Movements. This class only differs from that 
of No. 86, in being executed directly to the front, left leg first, 
as represented by Eig. 33, both bells being carried to the front 
simultaneously when making the motions of the dotted part of 
Fig. 33. 

No. 88. — Third Movements — Right. At this command, the 
student will first stamp with the left foot, and then immediately 
charge to the right into the position of the solid part of Fig. 34, 
when he will proceed to make the entire front motions from side to 
side from the solid to the dotted part of the figure, by carrying the 
bells down nearly to the floor, and throwing the full weight of the 
body upon the advanced knee, thus describing as large an arc as pos- 
sible with the bells. The seventh time the student thus throws him- 
self into the position of the dotted part of Fig. 34, he will instantly 
recover the commencing position by placing the right foot beside the 
left, in the original or military position ; when, at the command, 
Left, he will first stamp with the right foot and then charge into the 
position to the left, from whence he will make the same number of 
corresponding motions. 



THIRD SERIES. 

First Position. 

No. 89. — The instructor will command: 1. Knee Exercise; 2. 
Third Series ; 3. First — Position. 

No. 90. — First — Position. This only differs from the position 
of Fig. 24 in placing the heels apart, sidewise, about four times the 
length of the student's foot, as shown by the feet of Fig. 35. 

No. 91. — First Movements. The motions of this class are made 
sidewise, first to the right, as represented by the solid part of Fig. 
35. Employ the First Variety, p. 262. 

Second Position. 

No. 92. — Second — Position. This only differs from the position 
of the solid part of Fig. 33, in turning the foot in the rear sidewise, 
as in Fig. 36, and extending the right arm horizontally to the front, 
as in Fig. 25, and the left arm in like manner to the rear. 



KNEE EXERCISE. 



329 




330 



GYMNASTICS. 



No. 93. — First Movements. The first motions of this class are 
made to the front, as represented by the dotted part of Fig. 36 ; the 
second, to the rear, as represented by the solid part of the figure. 
Employ the First Variety, p. 262. 

No. 94. — Second Movements. The motions of this class only 
differ from those of No. 93 in being made with the left leg and arm 
to the front. 

Third Position. 

No. 95. — Tliird — Position. This only differs from the position 
of Fig. 6 in standing with the feet in the position of Xo. 90. 




Fig. 3' 



No. 96. — First Movements. The first motions of this class are 
made from the position to the right by placing the bells upon the 
floor as at b. Fig. 3t, thus throwing the weight of the body princi- 
pally upon the right knee, which passes between the upper arms, the 
left leg being kept straight and rigid ; the second, to the left, as rep- 
resented by the dotted part of Fig. 37, the bells being placed upon 
the floor as at c. Employ the Fi7'st Variety, p. 262. 

No. 97. — Before permitting the class to rest, as explained on 
p. 149, the instructor will frequently command, Order — Bells. At 
this command, the student, with his feet in the military position, as 
shown in the middle of Fig. 3T, will deposit the bells upon the floor 
in front as at a, icithoid bending the knees, and instantly recover 
the commencing position. The exercise next in order will be preceded 
by the command, Recover — Bells, when the student will recover the 
bells in like manner. 



KNEE EXERCISE. 



331 




Fig. 3S. Fia. 3y. 



FOURTH SERIES. 

First Position. 

No. 98. The instructor will command: 1. Knee Exercise; 

2. Fourth Series; 3. First — Position. 

No. 99. — First — Position. This is the position of the dotted 
part of Fig. 42, in which the weight of the body is thrown wholly 
on the points of the feet. 

No. 100. — First 3Ioveme7its — Right. At this command, four 
upward combined motions from the position will be made by simul- 
taneously placing the bell in the right hand immediately under the 
shoulder, and extending the left knee front and up as high as pos- 
sible, thus taking the position of Fig. 38 ; then, at the command, 
Left, four corresponding upward motions will be made with the left 
arm and right leg ; and finally, at the command, Reciprocate, six- 
teen of these upward motions will be made by reciprocation, the 
student first taking the position of Fig. 38, and then elevating the 
left arm and the right leg into the position at the same time the 
right arm and left leg descend. In making the reciprocating motions, 



332 



GYMNASTICS. 



the trunk will be thrown forward, and the elbows elevated as high 
as possible, as in Tig. 39. This class of movements is a most 
powerful and effective promoter of digestion. 

Second Position. 

No. 101. — At the command, Second— Position, the student will 
take the position of Fig. 40, in which the knees are extended to the 
sides, the thighs touch the calves of the legs, and the weight of the 
body is thrown entirely on the 
points of the feet, the bells being 
first in the position of No. 20. 

No. 102. Movements. — 

First, the student will execute 
the Second mid Third Move- 
ments of No. 21 ; then, changing 
the bells into the position of No. 
22, he will execute the Fii^st, 
Second, and Tliird Movements 
of No. 23 ; and finally, carrying 
the bells into the position of No. 
24, he will execute the First and 
Second Movements of No. 25. 



VII. 

LEG AND FOOT EXERCISE. 

FIRST SERIES. 

First Position. 

No. 103. — The instructor will command : 1. Leg and Foot Exer- 
cise ; 2. First Series; 3. First — Position. 

No. 104. — At the third command, the student will take the posi- 
tion of the solid part of Fig. 41. 

No. 105. — First Movements [Sliding Toes). This class of move- 
ments only differs from that of No. 226, p. 227, in accompanying the 
leg and foot motions with corresponding arm and hand motions, as 
illustrated by the dotted part of Fig. 41, the right leg and the right 
arm making the first simultaneous motions. 




LEG AND FOOT EXERCISE. 



333 



Second Position. 

No. 106 —At 

the command, Sec- ... 
ond — Position, the 
student will take the (^'S'" 
position of the dot- 
ted part of Fig. 42, 
which only differs 
from that of Fig. 6, 
in sustaining the 
weight of the body 
on the points of the 
feet. 

No. 101.— First 
Movements — Right. 
At this command, 
the student will si- 
multaneously elevate "b" 
the right arm side- 
wise, inclining up at 
an angle of 45 de- 
grees, lift the left leg, 
touching the point of 
the foot only at c. 
Fig. 42, and recover 
the commencing po- 
sition four times ; 
then, at the com- 
mand, Left, the left 
arm and right leg 
will make four cor- 
responding motions 
from the position ; 
then, at the com- 
mand, Alternate, 
four of these motions 
will be made by al- / 
ternation ; and final- 
ly, at the command, 




A 

Fig. 42. 



334 



GYMNASTICS. 



Both, the student will simultaneously elevate both arms to an angle 
of 45 degrees and spring into the air, alighting upon the points of 
the feet at b and c, thus taking the position of the solid part of Fig. 

42, and recover the commencing position four times. 

Third Position. 

No. 108. — At the command, Tliird — Position, the student will 
take the position of the solid part of Fig. 45. 

No. 109. — First and Second Momments {Charges). The first 
class of movements only differs from that of Xo. 230, p. 229, in 
accompanying the leg 
and foot motions with 
corresponding arm and 
hand motions, as seen 
in Fig. 43, the arms 
being extended side- 
wise at an angle of 
45 degrees, the right 
arm up when charging 
to the right. When 
charging from the com- 
mencing position, the 
front halls will he 
turned out and hack, 
as illustrated in Fig. 

43. — The second class 
of movements only 
differs from the first 
in the direction of the 
charges, which is to the front, bearing to the right and the left at 
angles of 45 degrees. Music for charges on pp. 187, 188, 189, 190, 
208, and 209. 

No. 110. — Third Movements. All the motions of this class 
from the commencing position are made directly to the front, the 
right arm and left leg first, as represented by the dotted part of 
Fig. 44. Employ the Fourth Variety, p. 263. 

No. 111. — Fourth Movements. This class is formed by com- 
bining facings and charges. The first motions are made by turning 




Fig. 43. 



LEG AND FOOT EXERCISE. 



335 



on the left heel and charging to the right, aclvaiici::g the right leg 
and the left arm, as represented by the dotted part of Fig. 45 ; the 
second, by turning on the right heel and charging to the left, ad- 
yancing the left leg and the right arm in like manner. Employ the 
Fourth Variety, p. 263. To render the charges of this position 




Fig. 44. 



more animating, effectiye, and pleasing, the instructor will frequently 
form the class into two or more ranks, facing each other, at a suffi- 
cient distance to ayoid collisions, as illustrated by the frontispiece 
entitled, A Gymxastic Charge. 



SECOXD SERIES. 

First Position. 

No. 112. — At the command, First — Position, the student will 
take the position of Eig. 46, in which the left foot sustains the 
weight of the body, and both knees are kept stiff, the right hand 
and the right foot bemg in the position of the dotted hand and foot. 



336 



GYMNASTICS. 



No. 113.— First Move- 
ments — Right. At this com- 
mand, the right hand and 
the right foot will be forced 
down simultaneously into the 
position of the solid extend- 
ed hand and foot of Fig. 46, 
and recover the commencing 
position eight times ; then, 
at the command, Left, the 
position will instantly be 
taken to the left, and eight 
corresponding motions will 
be made with the left hand 
and foot. In connection with 
these motions, which take 
place by means of the wrist 
and ankle joints, there should 
be an energetic bending and 
stretching of the toes. 

No. 1 14. — Second Move- 
ments. The motions of this 
class are made in front. The 
position is first taken by 
holding the bell in the right 
hand vertically and front at 
arm's-length, as represented 
by the right arm c, Fig. 18, 
and extending the left leg 
front, inclining toward the 
floor at an angle of 45 de- 
grees. At the command, 
Sink, the right hand and 
the left foot will simultane- 
ously make eight of these 
downward motions with the 
wrist and the ankle (the bell 
first passing down to the po- 
sition of A, Fig. 1 9, and then 



LEG AND FOOT EXERCISE. 



337 



up to tliat of b) ; when, at the command, Change, the left arm and 
the right leg, being extended front in hke manner, will make eight of 
these downward motions. 



Second Position. 

No. 115. — At the command, Second — Position, the student will 
take the position of the solid part of Fig. 47. 

No. 116. — First Movements — Front. At this command, from 
the points a and c, Fig. 4t, the hand and the foot simultaneously 
describe the arcs a b 
and c D, and recover 
the commencing posi- 
tion four times ; then, 
at the command, Rear, 
four of these combined 
motions are made from 
the position to the rear, 
the right arm passing 
behind the body and the 
right leg behind the left ; 
and finally, at the com- 
mand, Alternate, eight 
of these motions from 
the commencing posi- 
tion are made by alter- 
nation, first to the front. 
In describing the mo- 
tions, both to the front 
and to the rear, the bell 
at B is vertical, and the 
back of the hand is in 
front. 

No. 117. — Second Movements. In describing this class, the 
position is taken to the left, and the motions, which correspond to 
those of No. 116, are made with the left arm and leg. 




Fig. 47. 



Third Position. 
No. 118. — Third — Position. This is the position of the solid 
part of Fig. 44. 



338 



GYMNASTICS. 



No. 119. — At the command, Right, the right leg and both arms 
are thrown forward into the position of the solid part of Fig. 48, 
when they simul- 
taneously pass to 
the rear, thus de- 
scribing the mo- 
tion of the dotted 
part of the figure. 
This motion is con- 
tinued to the front 
and the rear, on- 
ly recovering the 
commencing posi- 
tion the eighth 
time the right foot 
passes from the 
front, when, at the 
command, Left, 
the left leg and 
the arms will make 
the same number 
of corresponding 
motions. The in- 
structor will en- 
courage the students to make this pendulous motion as great as 
possible, requiring them, however, to carry their feet uniformly to 
the same height in front. 




Fig. 4^^ 



THIRD SERIES. 

First Position. 

No. 120. — The instructor will command : 1. Leg and Foot Exer- 
cise ; 2. Third Series ; First — Position. 

No. 121. — At the third command, the student will take the posi- 
tion of Fig. 49, in which the bells are held horizontally to the front, 
as high as, and in line with, the shoulders. 

No. 122. — First, Second, and Third Movements (Facings). 
The motions of these three classes correspond respectively to those 



LEG AND FOOT EXERCISE. 



339 



of Nos. 191, 192, and 193, pp. 215 and 216, the bells being held in 
front of the body, as in the dotted part of Fig. 49. 




Second Position. 



No. 123. — Second — Position. This only differs from the posi- 
tion of the solid part of Fig. 45 in placing the heels about two and 
one-half times the length of the student's foot apart. 

No. 124. — First Movements. The motions of this class only 
differ from those of No. 195, p. 217, in being made with dumb-bells. 
In making the combined motions from side to side, without pausing 
at the commencing position, as in Fig. 50, the accompanying arcs 
described simultaneously in front with the bells are made without 
bending the arms. 



340 



GYMNASTICS. 



FOURTH SERIES. 

First Position. 

No. 125. — The instructor will command : 1. Leg and Foot Exer- 
cUe ; 2. Fourth Series ; 3. First — Posmox, 

No. 126. — At the third command, the student will take the posi- 
tion of the solid part of Fig. 45. 

No. 121— First Movements. This 
class of movements is executed bv hopping 
in place, first four times on the point of 
the right foot, the left arm being held in 
a vertical position, as in Fig. 51 ; then 
four times on the point of the left foot, 
the right arm being vertical and the left 
by the side ; and finally, eight times in 
alternate double hoj^s, the first and sec- 
ond being on the right foot, the third and 
fourth on the left, &c., the left arm being 
elevated when the hops arc done on the 
right foot, and vice versa. 

Second Position. 

No. 128. — At the command, Second 
— Position, the student will take the posi- 
tion of the solid part of Fig. 52, in which 
the weight of the body is thrown on the 
points of the feet, and the bells are ex- 
tended front, at arm's-length, in line with 51. 
the shoulders 

No. 129. — First, Second, and Third Movements. These three 
classes of movements only differ from those of Xo. 222, p. 226, in 
accompanying each leap with a movement of the arms. When just 
on the point of leaping, the student draws the bells in, placing them 
against the shoulders in front where the arms and shoulders join, 
and on alighting instantly extends them to the commencing position, 
as illustrated in the dotted part of Fig. 52. 




LEG AND FOOT EXERCISE. 



Third Position. 

No. 130. At the com- 
mand, Third — Position, the 
position of the soUd part of 
Fig. 53 will be taken, in which 'C 'l.^..^^.... 
the bells are extended hori- 
zontally to the right, and the 
weight of the body is support- 
ed by the points of the feet, 
the right leg being advanced 
to the right. 

No. 131. First Move- 
ments [Hocking Leap). At 
the command. Front, the stu- 
dent, turning front, will leap 
to the left into the position of 
the dotted part of Tig. 53, 
the right foot describing the 
arc A B, and the left, c d, si- 
multaneously, and recover the 




Tig. 5-3. 



342 



GYMNASTICS. 



commencing position at a and c four times ; then, at the command, 
Rear, turning to the rear in connection with each leap, he will leap 
to the left, crossing his legs and thus carrying the left foot forward, 
as in the dotted part of Fig. 53, and recover the commencing posi- 
tion four times ; and finally, at the command. Alternate, he will 
leap to the left and recover the commencing position eight times by 
alternation, first turning to the front. In connection with each leap, 
as in No. 129, the dumb-bells are drawn in as indicated by the dotted 
part of the solid figure, and thrust out again as soon as the change 
is accomplished. 

Fourth Position. 

No. 132. — At the command, Fourth — Position, the student will 
take the position of the dotted part of Fig. 42, 

No. 133. — First llovements. This class of movements only 
differs from that of No. 223, p. 226, in 
accompanying the leg and foot motions 
with corresponding arm and hand mo- 
tions, as shown in Fig. 54, the bells and 
the feet simultaneously recovering the 
commencing position, and the bells de- 
scribing the dotted arcs at the command, 
Reciprocate. 

FIFTH SERIES. 

First Position. 

No. 134. — The instructor will com- 
mand : 1. Leg and Foot Exercise; 2. 
Fifth Series; 3. First — Position. 

No. 135.-^i^i>s^ — Position. This 
is the position of the dotted part of Fig. 
42, in which the student is supposed to 
stand at the point a. Fig. 55. 

No. 136. — First and Second Movements. These two classes of 
movements only differ from those of Nos. 236 and 237, pp. 230 and 
231, in combining motions of the arms with leg and foot motions. 
When stepping to the left, the right arm is carried up sidewise into 




LEG AND FOOT EXERCISE. 



343 



a vertical position ; and when stepping to the right, the left arm is 
carried up in like manner, one arm being lowered at the same time 
the other is elevated, as in Fig. 55. 




Fig. 55. 

No. 137. — Third and Fourth Movements. These classes corre- 
spond respectively to those of Nos. 238 and 239, pp. 231 and 232. 
Unless otherwise commanded, the bells will be held in the commen- 
cing position. At the prehminary command. Attention — Class, the 
bells will take the position of Fig. 1 ; or, at the command, Palms 
out — Attention, that of Fig. 7. 

Second Position. 

No. 138. — At the command, Second — Position, the student will 
take the position of the solid part of Fig. 56, in which the dumb- 
bells are extended sidewise, inclining down at an angle of 45 degrees. 



344 



GYMNASTICS. 



No. 139. — First and Second Movements {Cloak Exercise). 
These two classes of movements only differ from those of ?s"os. 238 
and 239, pp. 231 and 232, in combining what is usually called the 
Cloak Exercise with the March} The arms will be crossed, as shown 
by the dotted part of Fig. 
56, every time the left foot 
is planted, and their com- 
mencing position will bo 
regained every time the 
right foot is planted. — 
First, the right arm w^ill 
cross in front of the left 
four times ; then the left 
arm will cross in front of 
the right four times ; and 
finally, these motions will 
be made by alternation 
eight times. 

Third Position. 

No. 140. Third— 

Position. This only dif- 
fers from the position of 
No. 135, in holding the 
bells as in Fig. 4. 

No. 141, — First, Second, and Third Movements. These three 
classes correspond respectively to those of Nos. 241, 242, and 243, 
p. 233. In their execution, by the great elevation of the legs, the 
student must habituate himself to bringing the toes first to the floor, 
thus avoiding the chief cause of bad marching and walking, namely, 
bringing the heel forcibly to the ground, thus shaking the whole body, 
especially the spine, and consequently distressing the brain and lungs. 

^ Combined Movements. — The All of the Chest and the Shoulder 

attention of the instructor is here Exercises, andmost of the movements 

directed to the First Series of com- in Elbow, and Arm and Hand Exer- 

bined movements in Calisthenics, on cise, may be combined with the March, 

p. 234. The Chest Exercise with as explained in the Second Series, 

dumb-bells, p. 303, may be combined p. 238. These combinations should 

with Charges, p. 334, in like manner, precede the Single Bell Exercise. 




SINGLE BELL EXERCISE. 



345 



YIIL 

SINGLE BELL EXERCISE. 

FIR ST SERIE S. 

First Position. 

No. 142. — Introductory to the Combined Exercises that are 
executed by the efforts of the students arranged in couples, several 
classes of movements are here introduced in which only one dumb- 
bell is employed. The students will first number as prescribed on 
p. 127, the ones and twos forming partners. Preparatory to the 
exercise, the instructor will then command : 1. Single Bell Exercise ; 
2. Order — Bells. At the second command, the ones, bending to 
the right, simultaneously deposit the bells in their right hands upon 
the floor midway between theirs and their partners' standings ; and 
the twos, bending to the left, place the bells in their left hands 
across their partners' bells, as at a, Fig. 37, when the commencing 
position is instantly recovered. The instructor next commands : 
1. First Series; 2. First — Positiox. 

No. 143. — At the last com- 
mand, the student will take the 
position of the solid part of Fig. - 
57, the feet being in the military I, :/ ;^ - - 
position, as in Fig. 56. - 

No. 144. — First and Second 
Movements. These two classes 
of movements correspond re- 
spectively to those of Kos. 7 and 
8, pp. 265 and 266, first be- 
ing made sidewise, as represent- 
ed by the dotted part of Fig. 57. 

Second Position. 

No. 145. — At the command, Second — Position, the student will 
take the position of Fig. 58, in which the dumb-bell is held horizon- 
tally upon the breast. 




346 



GYMNASTICS. 




Fig. oS. Fig. 59. 



No. 146. — First and Second Movements. The first class of 
moYements is the same as that of No. 10, p. 267. — The motions of 
the second class are made side wise, inclining up at an angle of 45 
degrees, first to the right, as indicated by the dotted part of Fig. 58. 
Employ the First Variety, p. 262. 

Third Position. 

No. 147. — At the command. Third — 
Position, the student will take the position 
of Fig. 59, in which the bell is extended 
horizontally front, at arm's-length from, and 
in line with, the shoulders. 

No. 148. — First, Second, and Third 
Movements. These three classes correspond 
respectively to those of Nos. 13, 14, and 
15, pp. 267 and 268, and are executed in 
the same manner. 

Fourth Position. 

No. 149. — -Fo?^rf7i— Position. This is 
the position of Fig. 60, which corresponds 
to that of No. 16, p. 268. 

No. 150. — First and Second MovewLents. These classes corre- 
sj^ond respectively to those of Nos. 17 and 18, pp. 268 and 269, and 




SINGLE BELL EXERCISE. 



347 




Fig. 61. 



are executed in like manner, the first 
motion of the first class being made to 
the right, as represented by the dotted 
part of Fig. 60. 

Fifth Position. 

No. 151. — At the command, Fifth 
— Position, the student will take the 
position of Fig. 61, which corresponds to 
that of Fig. 19, p. 2U. 

No. 152. First and 

Second Movements. These 
two classes correspond re- 
spectively to those of Nos. 
35 and 36, p. 2t5, and are 
executed in like manner, the 
first motions of the second 
class being made around 
and over the right hip, as 
shown in Fig. 62. 



SECOND SERIES. 
First Position. 

No. 153. — The instructor will 
command : 1. Single Bell Exer- 
cise ; 2. Second Series; 3. First 
— Position. 

No. 154. — At the third com- 
mand, the student will take the 
position of the solid part of Fig. 
63, in which the heels are about 
three times the length of his foot 
apart. 

No. 155. — First Movements 
— Right. The motions of this 
class are the same as those of 
No. 195, p. 2n, the bell being 
carried up above the head on 




Fig. 63. 



348 



GYMNASTICS. 




Fig. 64. 



executing each facing to the right or the 
left, as indicated by the dotted part of 
Fig. 63. 

No. 156. — Second Ilovements. The 
second class of movements only differs from 
the Jirst in placing the- bell vertically upon 
the shoulders in connection with the facings ; 
first upon the right shoulder, as illustrated 
in Fig. 64. 

Second Position. 

No. 157.- — At the command, Second— 
Position, the student will take the position 
of Fig. 65, which corresponds to that of 
Fig. 12, p. 268, the feet being in the mili- 
tary position. 

No. 158. — First Movements — Right. At this command, the 
student, turning to the right on the left heel, will face to the rear, 
thus describing one-half of a cu'cle, and recover the commencing 
position twice ; then, at the command. Left, he ^\ill face to the 
rear, in like manner, by turning to the left 
on the right heel and recovering the com- 
mencing position twice ; and finally, at the 
command. Alternate, four of these mo- 
tions to the rear will be made by alter- 
nation, first turning toward the right and 
recovering the commencing position on the 
left heel. Each of these ahoutfacings 
(No. 193, p. 216), both to the rear and 
the front, is accompanied by a simultane- 
ous motion of the arms, — the bell passing 
down by the side at arm's-length, thus 
describing an arc in the direction of the 
facing, and ascending into the commencing 
position over the head at the instant the 
aboutfacing is executed. -^iq 65. 




COMBINED EXERCISES. 



349 



IX. 

COMBINED EXERCISES. 



FIRST SERIES. 
First Position. 

No. 159. — The instructor will command: I. Combined Exer- 
cises; 2. First Series ; 3. First — Position. 




Fig. 6(i. 



No. 160. — Preparatory to this exercise, the students will take 
the position prescribed in No. 260, p. 239. The manner of employ- 
ing the dumb-bell in connection with the movements of this position, 
is happily illustrated by Fig. 66. At the third command, however, 
the position will be taken in accordance with No. 261, p. 240, the 
right legs being first advanced, and the bell used with the right hands. 
16 



350 



GY]\INASTICS. 



No. 161. — Fird and Second Movements. These two classes of 
movements correspond respectirely to those of Nos. 262 and 263, 
p. 240, the motions being made with a dumb-bell as illustrated in 
Fig. 66. 

Second Position. 



No. 162. — At the command, Second— Vosiiio^s, the students will 
take the position of Fig. 67, which corresponds to that of Xo. 264, 
p. 240. 




YiG. 67. 



No. 163. — First and Second Movements. These two classes of 
movements correspond respectively to those of Xos. 265 and 266, 
pp. 240 and 241, the number and order of the motions being the 
same. 



SECOND SERIES. 

First Position. 

No. 164. — The instructor will command : 1. Combined Exer- 
cises; 2. Second Series; 3. First — Position. 



COMBINED EXERCISES. 351 

No. 165. — At the third command, the students will take the 
position of the solid part of Fig. 68. 

No. 166. — First, Second, and Third 3Iovements. It will be 
remembered that the commands of execution apply literally only to 
the ones. At the command, Right, for example, the ones employ 




Fig. 6S. Fig. 69. 



the right member ; but the twos, the left. The first class of move- 
ments is made directly up into the position of the upper dotted arms 
of Fig. 68 ; the second, directly out, carrying the arms into a hori- 
zontal position ; and the third, directly down into the position of the 
lower dotted arms. Employ the Third Variety, p. 262, for each 
of these classes. 

No. 167. — Fourth and Fifth Movements. The fourth class of 
movements is a combination of the frst, second, and third. The 
number and order of the motions are the same as in No. 14, p. 306. 
The ffth class of movements is a combination of the frst and thii^d 



352 



GYMNASTICS. 



classes, the motions being made with both bells simultaneously, first 
the right arm of the ones and the left arm of the twos passing into 
the position of the upper dotted arms of Fig. 68, at the same time 
that the other arms pass down into a position corresponding to that 
of the lower dotted arms. Employ the Sixth Variety, p. 263. 




Fig. to. Fig. 71. 



No. 168. — Sixth Ilovements {Charges). This class of move- 
ments is executed by the couples charging sidewise simultaneously, 
first to the right of the ones, the advancing bell being elevated at an 
angle of 45 degrees, and the other lowered on each charge from the 
position, as in Fig. 69. Employ the Fourth Variety, p. 263. 

Second Position. 

No. 169. — At the command. Second — Position, the students will 
take the position of Fig. 70. 



COMBINED EXERCISES, 



353 



No. 170. — First, Second, Third, Fourth, Fifth, and Sixth Move- 
ments. These six classes of movements correspond respectively to 
those of Nos. 166, 16T, and 168, the motions being made while the 
couples stand back to back, as in Fig. tO. 



THIRD SERIES. 
First Position. 



No. 171. — The instructor commands: 1. Combined Exercises ; 
2. Third Series; 3. First — Position 




Fig. 72. Fig. 73. 



No. 172. — At the third command, the students will take the 
position of Fig. 71. 

No. 173. — First and Second Movements. The first class of 
movements is executed by elevating the arms sidewise into a vertical 



354 GYMNASTICS. 

position, ivithout bending them, as represented by the dotted arms 
of Fig. n, employing the ThM Variety, p. 262 ; the aecond, by 
simultaneous side facings, first to the right of the ones, the bell 
toward which the facing is made being carried above the heads into 
a horizontal position, as in Fig. 72. Employ the Fourth Variety, 
p. 263. 

No. 174. — Tliird Movements. This class of movements is 
formed of facings. At the command. Right, from the position of 
Fig. tl the students will make the first motion by facing to the 
right of the ones, as in Fig. 12 ; the second, by lowering the bell 
behind and facing to the rear, 
as in Fig. 73 ; the third, by 
recovering the position of Fig. 
72 ; and iliQ fourth, by recov- 
ering the position of Fig. 71. 
First, these four motions will 
be made twice ; then, at the 
command, Left, four corre- 
sponding motions will be made 
twice by first facing to the left 
of the ones ; then, at the com- 
mand, Alternate, the j^?'s^ and 
second of the first four mo- 
tions will be followed by the 
third and fourth of the four 
corresponding motions, and 
the four motions resulting will 
be immediately repeated ; and 
finally, the first and second of 
the four corresponding motions will be followed by the third and 
fourth of the first four motions, and the four motions thus resultiDg 
will be immediately repeated. 

No. 175. — Fourth, Fifth, and Sixth Movements {Charges). 
The fourth class of movements is a combination of the second with 
side charges, first to the right of the ones, as in Fig. 74. — The fifth 
class of movements is formed by side charges. At the command, 
Right, the partners will simultaneously charge sidewise with their 
right legs ; at the same time carrying the bells out and up into 
the position of Fig. 75, and recover the position of Fig. 71 four 
times ; then, at the command, Left, four corresponding charges 




COMBINED EXERCISES. 



355 



from the position will be made with the left legs ; and finally, at 
the command, Alternate, eight of these charges will be made by- 
alternation, first with the right legs. — The sixth class of movements 
only differs from the fifth in making the motions to the front, the 
partners thus charging directly past each other with the advancing 
legs. 

Second Position. 

No. 176. — At the command. Second — Position, the students 
will take the position of Tig. tO, with the arms in the position of 
the lower dotted arms. 




Fig. 75. 



No. 177. — First and Second Movements (Charges). The first 
class of movements corresponds to the fifth class, No. 175, the 
charges being made from this position sidewise, first with the right 
legs. The second class only differs from the first in making the 
charges directly to the front, as in Fig. 76. 



356 



GYMNASTICS. 



FOURTH SERIES 

First Position. 

No. 178. — The instructor will command: 1. Combined Exer- 
cises; 2. Fourth Series; 3. First — Position. 




Fig. 76. 



No. 179. — At the third command, the students will take the 
position, which only differs from that of No. 276, p. 244, in holding 
the bells as indicated in Fig. tY, the feet bemg in the military posi- 
tion (Nos. 1 and 2, p. 120). 

No. ISO — First, Second, Third, Fourth, Fifth, Sixth, Seventh, 
Eighth, and Ninth Movements. These nine classes of movements 
correspond respectively to those of Nos. 2Tt, 278, 279, 280, and 



COMBINED EXERCISES. 



357 



281, pp. 245 and 246, the motions being made with the arms, hands, 
and bells in the position of Fig. t7. 




Fig. 77. 



Second Position. 

No. 181. — At the command, Second — Position, the students 
will take the position of Fig. 71, which corresponds to that of No. 

282, p. 246. 

No. 182. — First, Second, Third, and Fourth Ifovements. These 
four classes of movements correspond respectively to those of Nos. 

283, 284, 285, and 286, pp. 246, 247, and 248, and are executed in 
like manner. 



16* 



358 



GYMNASTICS. 



INDIAN CLUB EXERCISES/ 



I 

ARM AND HAND EXERCISE. 

FIRST SERIES. 

First Position. 

No. 1. — Immediately after the formation of the class, as is pre- 
scribed on p, 125, the instructor commands : 1. Attention — Class ; 
2. Ann and Hand Exercise; 3. First Series; 4. First — Position. 

No. 2. — At the j^rs^ word of the first command, the students will 
fix their attention ; at the second, they will take the habitual or 
military position of the Indian Club Exercises, in which the clubs 
are suspended by the sides, without touching the legs, with the backs 
of the hands to the rear, as in Fig. 1 This is also the first posi- 
tion. All the motions of this Series must he made without bending 
the arms. 



^ Directions. — The instructor will 
comply with the directions of the 
note on p. 303, before attempting to 
teach the Indian Club Exercises. 
He will require learners to begin 
with the light, short clubs described 
on p. 259. At first, he must strive 
to rouse the student's pluck and emu- 
lation by rendering the exercises as 
agreeable and easy as possible, taking 
all the necessary precautions to pre 
vent him from injuring himself or 
becoming discouraged, and permit- 
ting none but the prescribed exer- 



cises. Harsh treatment must be care- 
fully avoided, much more any thing 
like turning the student's involun- 
tary awkwardness, or his first fail- 
ures, into ridicule. He must never 
forget that the pleasure of the vari- 
ous exercises, and the student's own 
desire to excel, are the first and se- 
cret elements of success in Gymnas- 
tics. His aim must be to develop 
the strength, agility, and dexterity 
of the student by a Avisely regulated 
exertion, thus giving him self-reliance 
and the utmost freedom of motion. 



AEM AND HAND EXERCISE. 



359 



No. 3. — First and Second Movements. These two classes of 
movements are made directly sidewise ; the first, by elevating the 
clubs into a horizontal position, as represented by the dotted arms 
A and c, Fig. 1 ; the second, by describing half side circles, and thus 
elevating the arms and clubs into a vertical position, as represented 




Fig. 1. 

by the dotted arms and clubs b and d. When the hands are at a 
and c, the palms are up ; when at b and d, the backs of the hands 
are out and the thumbs to the rear. For each class, employ the 
Third Variety, p. 262. Music on p. 151. 

No. 4. — Third and Fourth Movements. These two classes of 
movements correspond respectively to the first and the second, the 
third class bemg executed directly to the front by lifting the clubs 



» 



360 



GYMNASTICS. 



horizontally as high as the shoulders, in which position the palms are 
up ; the fourth, by elevating the clubs, toward the front, into the 
position of the dotted arms b and d, at which the backs of the hands 
are to the front. For each class, employ the Third Variety, p. 262. 
Music on p. 153, which will be performed in marked and slow time. 

No. 5. — Fifth Movements. With the clubs in the position of 
Fig. 1, at the command. Right, the student will make ih^ first mo- 
tion by extending the right arm to the front in line with the shoulder 
and elevating the club into 
a vertical position, as indi- ; 
Gated by the right arm of 
Fig. 2 ; the secoyid, by bear- 
ing the club to the right , r- 
into the position of the dot- 
ted right arm ; the third, 
by recovering the position 
in front ; and the fourth, 
by describing an upward 
curve and letting the club 
fall to the rear into the 
position of the upper dot- 
ted right arm. The fifth, 
sixth, seventh, and eighth 
motions are made by de- 
scribing the first four mo- 
tions inversely, thus recov- 
ering the position of Fig. 1. At the command. Left, the left arm 
will make eight corresponding motions ; and finally, at the command, 
Both, these eight motions will be made twice with both arms simul- 
taneously. Music on p. 151. 




Fig. 2. 



SECOND SERIES. 

First Position. 

No. 6. — The instructor will command : 1. Arm and Hand Exer- 
cise ; 2. Second Series ; 3. First — Position. 

No. 7. — At the third command, the student will take the position 
oT Fig. 3, which is the same as that of Fig. 1. 



ARM AND HAND EXERCISE. 



361 



No. 8. — First Movements [Inner Circles) — Right. At this com- 
mand, the circle a b c, Fig. 3, will be described four times with the 
club in the right hand, turning the palm front and the thumb down 
when the forearm passes over the head (see the upper dotted arm), 
and dropping the point of the club behind as far as possible ; then, 
at the command. Left, four corresponding circles will be described 
with the club in the left hand, first carrying the arm in front of the 
head ; and finally, at 



the command, Alter- 
nate, eight of these 



circles will be describ- , 
ed by alternation, first 
with the club in the 
right hand. It will 
be seen that this class 
of movements is of 
the Fourth Variety, ' '/ 

p. 263. ' ' / 

No. 9. Second i 

Movements {Outer : ' 
Circles). This class \ 
of movements only 
differs from that of 
No. 8, in making the 
motions backhanded, 
bending the wrists 
outward, and carry- 
ing the club behind the head first, the right-hand club first describing 
the circle a c b. Fig. 3. The motions of the first class are called 
inner circles; those of the second, outer circles. Music for these 
two classes on p. 189. 

No. 10. — Third Movements — Reciprocate. At this command, 
the student will describe sixteen of the inner circles of No. 8 by re- 
ciprocation (one club ascending at the same time the other is descend- 
ing), and then sixteen of the outer circles of No. 9 in like manner, 
thus employing the Seventh Variety, p. 263. Music for this class. 
Part Four, p. 208. 

No. 11. — Fourth Movements — Both. At this command, the 
inner circles will be described four times with both clubs simul- 




362 



GYMNASTICS. 



taneously by crossing the arms in front (the right in front of the 
left), elevating them over the head as in Fig. 4, and dropping the 
points of both clubs behind as far as possible ; then four double 
outer circles will be described ; and finally, eight of these double 
circles will be described by alternation, first describing the inner 
circles and then the outer, thus employing the Sixth Variety, p. 263. 
Music for Nos. 11 and 12 on p. 188. 

No. 12. Fifth Move- ..._^.,-.>. 

meats — Both. At this com- ' 
mand, the right arm will de- 
scribe an inner circle and 
the left arm an outer circle 
simultaneously four times, 
both clubs first passing 
around the left shoulder ; 
then the left arm will de- 
scribe an inner circle and 
the right arm an outer circle 
simultaneously four times, 
both clubs passing first 
around the right shoulder ; 
and finally, eight of these 
double motions will be made 
by alternation, both clubs 
first passing around the left 
shoulder, thus employing the 
Eighth Variety, p. 263. In 
making the motions of this class, the arm that describes the inner 
circle is carried above the head before the outer circle begins. 




Fig. 4. 



THIRD SERIES. 
First Position. 

No. 13. — The instructor will command : 1. Arm and Hand Exer- 
cise; 2. Third Series ; 3. First — Position. 

No. 14. — At the third command, the student will take the posi- 
tion of Fig. 5, in which the points of the elbows are in line with the 
spine, the forearms placed against the waist, and the clubs vertical. 



ARM AND HAND EXERCISE. 



363 



No. 15. — First, Second, Third, and Fourth Movements. The 
motions of the first class of movements from this position are made 
directly out to the sides into the position of the lower dotted arms of 
Fig. 5 ; of the second, directly front the full length of the arm, the 
hands being elevated as high as the shoulders ; of the third, directly 
up the full length of the arm ; and of the fourth, in curved lines 
directly over the shoul- 
ders, the clubs falling \ ] 
vertically to the rear, as \ / 
low as possible, as illus- \\ 
trated by the upper dot- 
ted arms of Fig. 5. For 
each class, employ the 
Third Variety, p. 262. 
Music for the fi?^st and 
the second classes on p. 
150 ; for the third and 
the fourth, p. 152. 

'No.ie.—FifthMove- 
ments: This is a com- 
bination of the four 
classes of No. 15, as ex- 
plained in No. 119, p. 
301. Music on p. 150. 

Fig. 5. 

FOURTH SERIES. 
First Position. 

No. 17. — The instructor will command : 1. Arm and Hand Exer- 
cise ; 2. Fourth Series {Extended Front Circles^)] 3. First — Po- 
sition. 

^Circles. For convenience in Portions of curved lines, like the arcs 

giving words of command and or- A b c and D e f, Fig. 19, are alsr 
dering combinations in the Indian usually called half circles. The in- 
Club Exercises, all curved lines structor, however, will carefully and 
{even the most irregular) that are con- fully explain to the student the real 
nected in all of their parts, are called character of the figures described 
circles, like, for example, the irregu- with the clubs, executing the mo- 
lar hearts, A b c d, Figs, 6, 7, and 9. lions for illustration. 




364 



GYMNASTICS. 



No. 18. — At the third command, the student will take the posi- 
tion of Fig. 6, which is the same as that of Xo. 14. 



A 




Fig. 6. 



No. 19. — First Ilovements {Inner Circles). In executing this 
class of movements, the clubs first pass in front of the face, de- 
scribing inner extended front circles, first with the right arm, as 
illustrated by the curved line a b c d, Fig. 6. The commencing posi- 
tion will be resumed every time a circle is described. Employ the 
Fourth Variety, p. 263. 

No. 20. — Second Movements {Obiter Circles). This class of 
movements only differs from that of No. 19 in describing the circles 
in contrary directions, the club in the right hand first describing the 
circle d c b a. Fig. 6. Music for Kos. 19 and 20 on p. 209. 

No. 21. — Third Movements — Reciprocate. At this command, 
the student will describe sixteen of the inner circles of Xo. 19 by 
reciprocation (one club ascending at the same time the other is de- 
scending), and then sixteen of the outer circles of No. 20 in like 



ARM AND HAND EXERCISE. 



365 



maimer, thus employing the Seventh Variety, p. 263. As these 
curved lines are described at ami' s-length, the commencing posi- 
tion being resumed only on the sixteenth motion^ they form perfect ? 
circles. Music on p. 161. 

No. 22. — Fourth and Fifth Ilovements. The first motions of 
the fourth class of movements are the inner circles of Xo. 19, the 
clubs first passing each other in front of the face, the right arm in 
front of the left ; the second are the outer circles of Xo. 20, the 
clubs first 2^assing each other in front of the legs, the left arm in 
front of the right. Employ the Sixth Variety, p. 263. — The first 
motions of the fifth class are made by the right arm describing the 
inner and the left arm the outer front circles simultaneously ; the 
second, by the right arm describing the outer and the left arm the 
inner front circles simultaneously. Employ the Eighth Variety, 
p. 263. Music for the two classes, Part Fifth, p. 208. 

FIFTH SERIES. 
First Position. 

No. 23- — The instructor commands: 1. Arm and Hand Exer- 
cise; 2. Fifth Series {Extended Side Circles) ; 3. First — Position. 

No. 24. — At the third command, the student will take the posi- 
tion of Fig. 7, which is the same as that of Fig. 6. 

No. 25. — First, Second, Third, and Fourth Movements. These 
four classes of movements correspond respectively to the first four 
classes of the Fourth Series, the circles being described by the sides. 
In describing the inner side-circles, the clubs are first extended to 
the front, as in Fig. the right arm first describing the inner circle 
A B c D, and remaining unbent until nearly vertical before descending 
into the commencing position. In describing the outer side-circles, 
the club first rises and passes toward the rear, thus describing the 
outer circle d c b a, Fig. 7. 

No. 26. — Fifth, Sixth, Seventh, and Eighth Ifovements. These 
four classes of movements are especially valuable in cases of dyspep- 
sia, torpid liver, or constipated bowels. The motions of the fifth 
class are made by the right side with both clubs simultaneously, first 
describing inner side-circles. Employ the Eighth Variety, p. 263. — 
The sixth class only differs from the fifth in being executed- by the 



366 



GYMNASTICS. 



left side. — The first motions of the seventh class are inner circles 
described simultaneously with both clubs by the right side ; the sec- 
ond, are corresponding inner circles described by the left side. The 
number of these motions, and the order in which they are made, are 



AX 




Fig. 7. 



the same as the Sixth Variety, p. 263. — The eighth class only differs 
from the seventh in describing outer side-circles. In making the mo- 
tions of these four classes, as well as all others in Arm and Hand 
Exercise, the feet retain the military position, as in Fig. T, and the 
legs are keiDt straight and rigid, without the sligMest bending or 
yielding of the knees. Music on p. 187. 

No. 27. — Ninth Movements. — First, the right arm will describe 
an inner side-circle, and the left arm an outer side-circle, simultane- 



ARM AND HAND EXERCISE. 



367 



ously, four times ; then the left arm will describe an inner and the 
right arm an outer side-circle, in like manner, four times ; and finally, 
eight of these double motions will be made by alternation. 



SIXTH SERIES. 



First Position. 

No. 28. — The instructor commands: 1. Arm and Hand Exer- 
cise; 2. Sixth Series {Contracted Side Circles)] 3. First — Po- 
sition. 

No. 29. — At the third command, the position will be taken, in 
which the elbows are slightly in front of, and against, the waist ; the 
forearms are elevated, inclining front ; and both clubs are held ver- 
tically, as in Fig. 8. 

No. 30. — Firsts Second, 
and Third Movements. The 
side contracted circles are de- 
scribed by movements of the 
wrists, the elbows retaining 
their position and the clubs 
passing as near to the shoul- 
ders as possible. The mo- 
tions of the first class are 
inner circles, like a b c, Fig. 
8 ; of the second, outer cir- 
cles, like c B A. For each, 
employ the Fourth Variety, 
p. 263. — The third class cor- 
responds to that of No. 10, 
the first reciprocating mo- 
tions being inner circles. 

No. 31. Fourth and 

Fifth Movements. The fi.rst 
motions of the fourth class 
are inner circles ; the secontZ, 

outer circles. Employ the Sixth Variety, p. 263. — The fifth class of 
movements only differs from that of No. 2T in the employment of 
side contracted circles. Music for the Sixth Series, p. 159. 




368 



GYMNASTICS. 



SE YEXTH SERIES. 
First Position. 

No. 32. — The instructor commands : 1. Amn and Hand Exer- 
cise; 2. Seventh Seines [Rear Contracted Circles) ; 3. First — 
Position. 

No. 33. — At the third command, the student will take the posi- 
tion of Fig. 5, Xo. 14. 

No. 34. — First, Second, Third, Fourth, and Fifth Movements. 
These five classes of movements correspond respectiyely to those of 
Nos. 19, 20, 21, and 22, the motions being made to the rear, thus 
forming rear contracted circles. Until the student has acquired 

considerable facility in the ^ 

description of these circles, /\ ,- 

the club not in use will he -^^ 
so lowered that its end shall 
he in line with, and rest 
against, the shoulder. Dur- ; 
ing the first lesson, the club 
not in use at the time may 
be suspended by the side, as 
in Fig. 9. In describing the 
inner circle a b c d, Fig. 9, 
the arm is elevated and the 
club lowered toward the 
left until the forearm is 
across the head, the club in 
a horizontal position, and 
the back of the hand turned 
to the rear, when the point 
of the club is dropped be- 
hind as low as possible, the 
hand passed over the right 
shoulder and its back turn- 
ed to the front, thus recovering the commencing position. The outer 
circle d c b a is described by a reverse motion. The student will be 
careful to make this motion directly sidewise, extending the club 
horizontally as far as possible as the forearm passes over the head. 




Fig. 1'. 



ARM AND HAND EXERCISE. 



369 



EIGHTH SERIES. 
First Position. 

No. 35. — The instructor will command : 1. Arm and HaJid Exer- 
cise ; 2. Eighth Series ; 3. First — Position Music for the move- 
ments of this Series on p. 160. 

No. 36. — At the third com- 
mand, the student will take the 
position of Fig. 10, in which the 
clubs are held directly sidewise in 
line with the ears, and the backs 
of the hands are to the rear. 

No. 37. First 3Iovements. 

The motions of this class are 
made directly up into the posi- 
tion of the dotted arms and clubs 
of Fig. 10. EmjDloy the Third 
Variety, p. 262. 

Second Position. 

No. 38. — At the command, 
Second — Position, the student 
will take the position of the solid 
part of Fig. 1 1, in which the clubs, 
held in front of and a little higher 
than the shoulders, are pointed 
directly to the front, the backs 
of the hands being out. 

No. 39. First Alovements. 

The motions are made directly up 
into the position of the front dot- 
ted arm of Fig. 11. Employ the 
Third Variety, p. 262. 

Third Position. 

No. 40. — Third — Position. 
This position is taken to the rear, 
as represented by the lower dot- 





370 



GYMNASTICS. 



ted arm and club of Fig. 11, corresponding to that of No. 38, the 
backs of the hands being down and the thumbs toward the front. 

No. 41. — First Movements. The motions are made directly up 
into the position of the rear elevated arm. Employ the Third Va- 
riety, p. 262. 



NINTHSERIES. 

First Position. 

No. 42. — The instructor vfill command : 1. Arm and Hand Exer- 
cise ; 2. Ninth Series; 3. First — Position. Music for the move- 
ments of this position on p. 158. 

No. 43. — At the third command, the student will take the posi- 
tion of Fig. 12. 

No. 44. — First Movenie7its—lN. At this command, both clubs, 
turning in toward the head, are simultaneously brought down upon 
the arms, as shown 

by the arm A, Fig. 13, H 1 1 

and elevated into the ' ^ ^ 

commencing position 
four times ; then, at 
the command. Out, 
both clubs are simul- 
taneously turned out 
sidewise into a hori- 
zontal position, as 
shown by the arm b, 
four times ; then, at 
the command. Al- 
ternate, four of these 
simultaneous motions 
from the position are 
made by alternation, 
first the inner one ; 
and finally, at the 
command,BoTH, eight 
combined motions (formed by the union of the inner and outer mo- 
tions) are made the entire distance, the first commencing from, and 
only the eighth terminating at, the commencing position. 




Fig. 13. 



ARM AND HAND EXERCISE. 



371 



No. 45. — Second Movements. The first motions of this class 
are made toward the front by simultaneously turning both clubs 
down into the position of the arm c, Fig. 13 ; the second, to the 
rear, as shown by the arm d. The number and order of the motions 
are the same as in No. 44. The commands of execution are, Front, 
Rear, Alternate, Both. 

No. 46. — Third llovements. The first motions of the third 
class are made by simultaneously turning both clubs into a horizontal 
position to the right, the club in the right hand passing out into the 
position of the arm b. Fig. 13, and that in the left hand into the 
position of the arm a ; the second motions are made in like manner 
to the left. The commands of execution are, Right^ Left, Alter- 
nate, Both. Employ the same Variety as in No. 44. 

No. 47. — Fourth Movements. The first motions of the fourth 
class are made from the position by simultaneously turning the right- 
hand club to the front and the left-hand club to the rear, as repre- 
sented by the arms c and d. Fig. 13 ; the second, by simultaneously 
turning the left-hand club to the front and the right-hand club to the 
rear in like manner. Employ the same Variety as in No. 44. 

Second Position. 

No. 48. — At the command. Second — Position, the student will 
take the position of the solid part of Fig. 2. 

No. 49. — First, Second, Third, and Fourth Movements. The 
four classes of movements of this position correspond respectively 
to those of Nos. 44, 45, 46, and 47, and the motions are made in 
like manner. 

TENTH SERIES. 

First Position. 

No. 50. — The instructor will command : 1. Arm and Hand 
Exercise ; 2. Tenth Series {Contracted Circles at arm's length) ; 
3. First — Position. 

No. 51. — At the third command, the student will take the posi- 
tion of Fig. 14. 

No. 52. — First Movements {Front Circles). All the circles of 
the Tenth Series are described with both clubs simultaneously by the 
action of the wrists, the arms being kept straight. The first motions 



372 



GYMNASTICS. 



of this class are front' inner circles, both clubs first passmg toward 
the head, thus describing circles like that of Fig. 14, though in a 
contrary direction from that indicated by the darts ; the second, 
front oute?^ circles, both clubs first passing out, and thus describing 
circles as indicated in Fig. 14. Employ the Sixth Variety, p. 263. 
, No. 53. — Second Movements {Rear Circles). This class of 
movements only differs from that of No. 52 in describing the circles 
to the rear of the arms. 




Fig. 14. 



Second Position. 

No. 54. — At the command, Second — Posmox, the student will 
take the position of the solid part of Fig. 2. 

No. 55. — First and Second Movements [Side Circles). Tiiese 
two classes of movements correspond respectively to those of Nos. 
52 and 63, the circles being described by the sides of the arms. 

No. 56. — Tliird and Fourth Movements. The circles of the 
third class are described at the right of each arm, the first motions 
being inner circles, the clubs first passing toward the body. Employ 
the Eighth Variety, p. 263. — The fourth class only differs from the 
third in describing the circles at the left of each arm. 



ELEVENTH SERIES. 

First Position. 

No. 57. — The instructor will command : 1. Arm and Hand Exer- 
cise ; 2. Eleventh Series; 3. First — Position. 



AKM AND HAND EXEKCISE. 



373 



No. 58. — At the third command, 
the student will take the position of 
Fig. 15, which corresponds to that of 

No. 54, p. sn. 

No. 59. — First Movements. This 
class of movements only differs from 
that of No. 55, p. 3 It, in being exe- 
cuted with Indian clubs, as indicated 
in Fif?. 15. 




Fia. 15. 



Second, Third, and Fourth Positions. 



No. 60. — At the command, Second 
— Position, the student will hold the 
clubs in the position of Fig. 16, the right- 
hand one above the left, and the backs 

of the hands up. The third position is that of Fig. H, in which 
the clubs are vertical, and the backs of the hands to the front : the 
fourth is that of Fig. 18, in which the palms are to the front. 





Fig. 17. 



Fig. 18. 



These three positions correspond respectively to those of Nos. 56 
and 58, p. 318, and the class of movements of each position only 
differs in being executed with Indian clubs. 
17 



374 



GY^lNASTICS. 



11. 

COMBINED EXERCISES. 

FIRST SERIES. 

First Position. 

No. 61. — While the exercises of this general division are com- 
binations of what is technically called Arm axd Haxd Exercise, 
they really bring into play, in the most desirable and pleasing man- 
ner, all the muscles and joints. The instructor will command: 1. 
Combined Exercises; 2. First Series {Half Circles) \ o. First — 
Position. 




Fig. 19. 



No. 62. — At the third command, the student will take the posi- 
tion of the solid part of Fig. 19, in which the right arm is extended 



COMBINED EXEKCISES. 



375 



horizontally to tlie right with the palm up, and the left arm is in the 
military position, as explained in No. 2. 

No. 63. — Fiy^st Movements [Half Circles) — Rear. At this 
command, the student will describe the rear arc a b c, Fig. 19, carry- 
ing the arm into the position of the dotted arm h, and the front arc 
D E F, thus recovering the commencing position, four times ; then, at 
±he command, Front, reversing the direction of the motion, he will 
describe the arcs fed and c b a four times ; and finally, at the com- 
mand, Alternate, he will make this combined motion eight times by 
alternation, first describing the arcs a b c and d e f, and then the 
arcs FED and c b a. Music for this Series on p. 208. 

Second Position. 

No. 64. — At the command. Second — Position, the student will 
simultaneously lower his right arm into the position of the lower 
dotted arm of Fig. 19, and extend his left arm horizontally to the 
left, thus taking the position that corresponds to that of No. 62. 

No. 65. — First Movements. This class of movements, which is 
executed with the left arm, corresponds to that of No. 63, the mo- 
tions being made in like manner. 

Third Position. 

No. 66. — At the command, Third — Position, the student will 
take the position of the solid part of Fig. 20, in which both clubs 
are extended horizontally as far as possible to the left, the right 
forearm crossing side wise over the head. 

No. 67. — First Movements — Rear. This class of movements, 
which is executed with both clubs simultaneously, corresponds to that 
of No. 65. The first motions from the third position are made by 
describing half circles, first to the rear, thus taking the position of the 
dotted arms and clubs at the left of Fig. 20, and then to the front, 
thus resuming the commencing position. To render the movements 
more marked, a slight pause will be made when the clubs arrive in 
position, both at the right and the left. Employ the Fighth Variety, 
p. 263. 

No. 68. — Second Movements. From the position of Fig. 20, 
the arcs a b c and d e f will be described simultaneously, the front 
arc with the right arm and the rear arc with the left arm, thus 



376 



GYMNASTICS. 



taking the position of the dotted arms and clubs to the left of 
Fig. 20, when a corresponding front arc will be described with the 
left arm and a rear one with the right arm, thus resuming the com- 
mencing position. On the fourth resumption of the commencing 
position, at the command, Change, these arcs will be described in- 
versely the same number of times, the left ai'm first describing a 




Fig. 20. 



front half circle and the right arm a rear one ; when, at the com- 
mand, Alternate, eight of these double motions from the position 
will be made by alternation, the right arm first passing to the front 
and the left arm to the rear. — The students will usually execute the 
movements of this Series as prescribed in No. 2T, p. 143. 



SECOND SERIES. 
First Position. 

No. 69. — The instructor will command : 1. Combined Exercises; 
2. Second Series {Rear Contracted Circles and Half Front Extended 
Circles) ; 3. First — Position. 



COMBINED EXERCISES. 



No. 70. — At the third command, the student will take the posi- 
tion of the solid part of Fig. 21. The club not in use, however, 
will usually be lowered, so that its end shall be in line with, and rest 
against, the shoulder. 

No. 71. — First Movements. In making thQ first motions of this 
class, the student will first describe the rear contracted circle a b c, 
Fig. 21 ; then the half 
front circle d e, Fig. 
22 ; and finally, by in- 
version, the half front 
circle e d, thus recover- 
ing the commencing po- 
sition. The third time 
the arm is thus carried 
into the position of the 
dotted arm of Fig. 22, 
he will describe the rear 
contracted circle f g h ; 
then the half front cu*- 
cle E D ; and finally, the 
half front circle d e, thus 
recovering the position 
of the dotted arm of 
Fig. 22, and making the 
second motions of this 
class. In conclusion, the 
third time the arm takes 
the position of the soHd 
right arm, in making the 
second motions of this 
class, at the command, Alternate, the right arm will first describe 
the rear contracted circle a b c, Fig, 21 ; then, the half front circle 
D e, Fig. 22 ; then, the rear contracted circle r g h ; and finally, the 
half front circle e d. The last four motions, which are thus em- 
ployed in alternation, will be made four times. The student will be 
required to thoroughly master this class of movements before pro- 
ceeding further. Music for this Series on p. 188. 




378 



GYAINASTICS. 



Second Position. 

"No. 72. — At the command, Second — Posmox, the student will 
take the position to the left, coiTesponding to that of No. 70. 

No. 73. — This class of movements, which is executed with the 
left arm, corresponds to that of No. 71, the motions being made in 
like manner. — 



G '' 




Fig 22. 



Third Position. 

No. 74. — At the command, Third — Positiox, the student whl 
take the position of the solid part of Fig. 20, No. 66. 

No. 75. — First Movements — Rear. This class of movements, 
which is executed with both clubs simultaneously, corresponds to 
that of No. 73, the left arm making the same motions and being 
accompanied by the right arm. — The class will usually execute the 
movements of this Series as prescribed in No. 27, p. 143. 



COMBINED EXERCISES. 



379 



THIRD SERIES. 

^First Position. 

No. 76. — The instructor commands: 1. Combined Exercises; 
2. Third Series {Front Extended and Rear Contracted Circles) ; 3. 
First — Position. 

No. 77. — At the third command, the student will take the posi- 
tion of the soKd part of Fig. 5, No. 14. 

No. 78. — First to Tenth Ifovements, inclusive. The motions 
of these ten classes are made with both clubs simultaneously. The 
first motions of the first class are made by describing inner front 
circles (No. 19) with the right arm, and inner rear circles (No. 34) 
with the left ; the second, by describing outer front circles with the 
left arm, and inner rear circles with the right. — The Jirst motions of 
the second class are made by describing inner front circles with the 
left arm, and outer rear circles with the right ; the second, by de- 
scribing outer front circles with the right arm, and inner rear circles 
with the left. — The Jii^st motions of the third class are the -first mo- 
tions of the first class ; the second, are the first motions of the second • 
class! — The Jirst motions of the fourth class are the second motions 
of the first class ; the second, are the second motions of the second 
class. — The first motions of the fifth class are made by describing 
inner front circles with the right arm, and inner rear circles with the 
left ; the second, by describing inner front circles with the left arm, 
and inner rear circles with the right. — The fi7^st motions of the sixth 
class are made by describing outer front circles with the right arm, 
and outer rear circles with the left ; the seco?id, by describing outer 
front circles with the left arm, and outer rear circles with the right. — 
The first motions of the seventh class are made by describing inner 
front circles with the right arm, and outer front circles with the left ; 
the second, by describing inner rear circles with the right arm, and 
outer rear circles with the left. — The first motions of the eighth class 
are made by describing outer front circles with the right arm, and 
inner front circles with the left ; the second, by describing outer rear 
circles with the right arm, and inner rear circles with the left. — The 
first motions of the ninth class are the first motions of the seventh 
class ; the second, are the second motions of the eighth class. — The 
fi7\^t motions of the tenth class are the first motions of the eighth 



380 



GYMNASTICS. 



class ; the second, are the second motions of the seventh class. — In 

executing each class of movements, the student will first make four 
of the first motions from the position; the?i, four of the secondh- 
and finally, eight of the first and second by alternation. 



TTT 

KN E E E X E R C I S E. 

FIRST SERIES. 
First Position. 

No. 79. — The instructor will command: 1. Knee Exercise; 2. 
Fi7^st Seines; 3. First — Position. 

No. 80. — First — Position. This only differs from the position 
of Fig. 1, No. 2, in placing the 
heels about three times the length 
of the student's foot apart. 

No. 81. — Fii^st Ilovements. 
This class of movements only dif- 
fers from that of No. 195, p. 217, 
in the employment of Indian clubs, 
as illustrated by Fig. 23. Music 
on p. 190. 

Second Position. 

No. 82. — At the command, 
Second — Position, the student, 
turning on both heels to the right, 
will take the position of Fig. 24, 
which gives a rear view of the 
exercise. 

No. 83. First Movements 

{Side Contracted and Haf Front 
Extended Circles). First describe simultaneously an inner side con- 
tracted circle (No. 30) with each arm, like a b c, Fig. 24 ; then turn 




382 



GYMNASTICS. 



on both heels and face to the left, describing simultaneously with both 
clubs half front circles, like d e of Fig. 22, and taking the position to 
the left corresponding to that of Fig. 24 ; and then, describing the 
half front circles by inversion, turn on both heels to the right and 
recover the commencing position. The third time the position is thus 
taken to the left, describe the side contracted circles in that position, 
only making half front circles to the right, until the position of Fig. 
24 is thus taken the third time ; and finally, describe these side con- 
tracted circles once on each facing, both at the right and the left, 
until the position of Fig. 24 is regained four times. In describing 
these circles, throiv the whole weight of the body on the advanced 
knee. Music on p. 189. 

Third Position. 

No. 84. — At the command, Thii^d — Position, the student will 
take the position of Fig. 1, No. 2. 

No. 85. — First Movements. This class only differs from that of 
No. 86, p. 326, in being executed with Indian clubs directly to the 
front, left leg first, as represented by Fig. 25. Music on p. 190. 



IV. 

LEG AND FOOT EXERCISE. 

FIRST SERIES. 

First Position. 

No. 86. — The instructor will command : 1. Leg and Foot Exer- 
cise; 2. First Series; 3. First — Position. 

No. 87. — At the third command, the student will take the posi- 
tion of Fig. 26, which is the same as that of Fig. 1. 

No. 88. — First Movements (Facings). This class only differs 
from that of No. 191, p. 215, in describing the first half of the inner 
circles of No. 8, p. 361, on each facing from the position, and the 
second half of the outer circles of No. 9 on each recovery of the 



LEG AND FOOT EXERCISE. 



383 



commencing position, elevating the right arm when facing to the 
right, as represented by the dotted part of Fig. 26, and the left arm 
when facing to the left. Music on p. 209. 

No. 89. — Second Movements {Facings loith Side Charges). 
This class of movements only differs from the first class in combining 
facings with side charges (No. 230, p. 229), as illustrated by Fig. 27. 
Music, Part Fifth, p. 208. 

No. 90. — Third, Fourth, and Fifth Movements {Hopping, icith 
Arm and Hand Exercise). These three classes of movements only 
differ from those of Nos. 8, 9, and 10, p. 361, in combining the de- 
scription of the circles with hopping in place. While making each 




Fig. 2o. 

circle of Kos. 8 and 9, the students will hop /bwr times ; on each 
of Ko. 10, twice. He will hop on the point of the left foot while 
employing the right arm, and on the point of the right foot while 
employing the left arm. Music on p. 207. 

No. 91. — The March combined icith Arm and Hand Exercises. 
The students will execute the movements of the Third, Sixth, Sev- 
enth, Eighth, and Eleventh Series of Arm and Hand Exercise, in 
connection with Marking Time and the March, Nos. 238 and 239, 
pp. 231 and 232, thus forming nineteen new classes of movements. 



384 



GYMNASTICS. 



THE INDIAN CLUB RACE. 

First Position. 

No. 92. — The instructor will command : 1. Leg and Foot Exer- 
cise; 2. The Indian Club Race; 3. First — Position. 

No 93. — The Indian Club Race, which constitutes the exercise 
of this Series, is one of the most spirited and efficacious games ever 
devised. Preparatory to the contest, the floor will be marked with 
standings for the clubs, as shown at a, b, c ; 1, 2, 3 ; and t, in the 
Frontispiece, p. 251, the seven clubs in the three circles at the end 
of the room forming the goal at which the race begins and ends. 
The standings for the clubs on each side of the room should be at 
least fifteen feet apart, if possible ; twice that distance is not too far, 
if the size of the room permits. 

The instructor will appoint two leaders, who will " choose sides 
or the students will number, as prescribed on- p. 121, the ones 
forming the first division and the twos the second. At the third 
command of No. 92, the two divisions will take their positions 
as shown in the cut, the leaders standing nearest the clubs. The 
instructor will count One, Two — Three, or three chords will be 
struck on the piano, when each leader will leap to the nearest club, 
and, first passing to the side of the room and running over the 
standings, set it at 1, or at a. He who first distributes three clubs 
and stands the seventh in the center of the room at 1, counts two 
in the game for his side, the whole number of the game being ten. 

When the leaders first leave the ranks, the remaining students 
change their standings, so as to leave the places furthest from the 
goal vacant for the students that are running. Immediately after 
the clubs are distributed, the signal will be given, and the students 
occupying the standings of the leaders will instantly proceed to 
gather the clubs, first taking those at 3 and c. He who first 
gathers three clubs, and places the seventh in its original position, 
wins two for his side. One, however, will be deducted for each club 
that fails to stand, either in the distribution or the collection. Thus 
the students will continue, distributing and gathering the clubs, until 
the game is decided. This exercise should be practiced in the open 
air as often as possible. Nothing short of exercise in the open air 
can supply the highest physical needs of the human frame. 



COMBINED EXERCISES. 



385 



EING EXERCISES. 



I. 

COMBINED EXERCISES. 

FIRST SERIES. 

First Position. 

No. 1. — Immediately after the formatioD of the class, as is pre- 
scribed on p. 125, the instructor commands : 1. Combined Exercises; 
2. First Series ; 3. First — Position. 




Fig. 1. 



No. 2. — All Ring Exercises are performed by t\ie combined 
efforts of the students arranged in pairs. First, the students will 
take the position prescribed in No. 260, p. 239 ; and then, at the 



386 



GYMNASTICS. 



thii'd command of No. 1, the position of Fig. 1 will be taken, which 
corresponds to that of No. 261, p. 240. 

No. 3. — Positions, Movements, <&a. In all positions taken, the 
rings are always vertical, as in Figs. 1 and 2. In making curved 
motions from the positions, the rings will be turned completely over. 
At the termination of horizontal motions, 
the rings will be horizontal. The posi- 
tions and movements of the First and the 
Second Series correspond respectively to 
those of the Combined Exercises, p. 349. 



SECOND SERIES. 

First Position. 

No. 4. — The position, the commands, 
and the first three classes of movements, 
correspond to those of the Third Series, 
p. 353. 

Second Position. 

No. 5. — At the command, Second — 
Position, the students will take the posi- 
tion of the solid part of Fig. 2, which 
corresponds to that of No. 99, p. 293. 

No. 6. — First Movements. This class 
of movements corresponds to that of No. 
100, p. 293, the first motions being made 
to the front, as represented by the dotted Fig. 2. 

part of Fig. 2. 

Third Position. 

No. 7. — At the command, Third — Position, the students will 
take the third position, which is the same as the first of this 
Series. 

No. 8. — First, Second, and Third Movements. These three 
classes of movements correspond respectively to the three classes 
of No. 175, p. 354, and are executed in like manner. 




MISCELLANEOUS EXERCISES. 



387 



Fourth Position. 

No. 9. — The fourth position of this Series is the same as that 
of No. 176, p. 355. 

No. 10. — First and Second Movements. These two classes of 
movements are the same as those of No. Ill, p. 355. 

THIRD SERIES. 

First Position. 

No. 11. — The commands, the positions, and the movements of 
this Series are the same as those of the Fourth Series, p. 356. 

No. 12. — By thus simply referring to the Combined Exercises 
that are executed with wands and dumb-bells, we have secured 
thirty-eight classes of movements for Ring Exercises. While all 
the positions and attitudes are pleasing, graceful, and beautiful, the 
movements may be executed with nearly equal facility in the gymna- 
sium, the school, and the parlor. These certainly may be classed 
among the movements that are most generally useful ; for they bring 
into play every joint and muscle of the body, secure geniality and 
generous emulation, and afford a great deal of exercise in a brief 
space of time. 

No. 13. — Ring Exercises should .be sedulously practiced; for 
they are most effective in increasing the volume and power of the 
extensors of the shoulder, arm, and forearm — muscles that are usually 
weak in most persons — and they also give rapid development to the 
chest. 



11. 

MISCELLANEOUS EXERCISES. 

FIRST SERIES. 

First Position. 

No. 14. — The instructor will command : 1. Miscellaneous Exer- 
cises; 2. First Series; 3. First — Position. 



388 



GYMNASTICS. 



No. 15. — While the movements in Miscellaneous Exercises are 
not as regular and uniform as in the other combined movements, bj 
exercising care and giving suitable words of command, the instructor 
may render them sufficiently so for class purposes. 

No. 16. — In the j^rs^ position, the students, in couples, standing 
face to face with the right legs advanced, hold the ring at arm's- 
length from each ; in the second, the left legs are advanced, and the 
ring is held in like manner with the left hands ; in the third, the feet 
are in the military position, p. 120, both rings are used, and each 
student employs both hands ; in the fourth, fifth, and sixth positions, 
the students stand back to back, first employing the right hands, 
then the left, and finally, both. 

No. 17. — Movements. In each position of No. 16, the students 
pull against each other, each striving to drag his antagonist. Some- 
times the classes, divided into smaM squads, will pull against each 
other. The students will all pull in exact time, which will be marked 
by instrumental music, or a vocal accompaniment (either counting, 
singing, or Phonetics) produced by the students themselves. 

SECOND SERIES. 
First Position. 

No. 18. — The instructor will command: 1. Miscellaneous Exer- 
cises; 2. Second Series ; 3. JF'irst — Position. 

No. 19. — At the third command, the students will take a sitting 
posture upon the floor. The couples sit, closing the legs, feet to 
feet, holding a ring immediately over their toes with their right 
hands. In the second position, they employ their left hands ; and in 
the third, both hands. 

No. 20. — Movements. The commands of execution are: 1. 
Right ; 2. Left ; 3. Both. At each command of execution, the 
students pull away, striving to raise each other. He who raises his 
antagonist twice, while executing the three classes of movements, 
becomes the victor and retains the rings. The instructor will occa- 
sionally require all the victors to go through the exercise successively 
until only one remains 



WATSON'S 

GYMNASTIC APPARATUS. 



THIS is the most beautiful, convenient, and effective Gymnastic 
Apparatus ever devised. It embraces only the few varieties 
that afford the most and best exercise in the shortest time ; that 
may be used with equal facility under cover, or in the open air ; and 
that may be employed by all persons, either individually or in classes. 

It is all made of well-seasoned wood, varnished with three coats 
of shellac, and well polished. Dumb-bells and Indian Clubs are 
usually made of maple, beech, or birch ; Wands, of white-ash ; Hand- 
rings, of cherry or mahogany. Apparatus will be manufactured to 
order, of hickory, locust, rosewood, or lignum-vit^. 

The Wand has eight plane, equal faces, or sides. It is seven- 
eighths of an inch thick for men and women, and three-fourths for 
boys and girls. It extends from the floor to the lobe of .the ear. 
Price, ivithout metallic baUii, 30 cents ; with metallic halls, 60 cents. 

There are four sizes of Dumb-bells, No. I is intended for merf^ 
No. 2, for women and youth ; Nos. 3 and 4, for boys and girls. Full 
descriptions are given on pp. 255 and 256 of this work.— Price, per 
pair, of Nos. 1 and 2, 75 cents; of Nos. 3 and 4, 60 cents. 

There are eight sizes of Indian Clubs ; four of long clubs, and 
four of sho7i ones. Nos. 1 and 2 are intended for men ; Nos. 3 and 
4, for women and youth. Full descriptions are given on pp. 258 and 
259. — Price of Short Clubs, j^er pair, $1.25 ; of Long Clubs, Nos. 
1 and 2, |l.t5 ; of Long Clubs, Nos. 3 and 4, $1.50. 

Two sizes of Hand-rings (pp. 260 and 261) afford a sufficient 
variety. No. 1 is intended for men and women ; No. 2, for boys 
and girls. — Price, per pair, well polished, 75 cents. 

A liberal deduction from the above prices will be made to Schools 
and Gymnasiums. 

Address 

SCHERMERHORN, BANCROFT & CO., 

130 GRAND -STREET, NEW YORK. 



WATSON'S 

NATIONAL PHONETIC TABLETS. 



THESE TABLETS, eight in number, each 24 by 30 inches in 
size, printed in colors and mounted in the best style, may be 
read at a distance of one hundred feet. They present in the simplest, 
most convenient and attractive form for class drill, all the excellences 
of the American phonetic and the English phonic systems, without 
any of their objectionable features, furnishing abundant and appro- 
priate material for the acquisition of the basis of all good deUvery — 
a perfect articulation. This is done as follows : 

I. By employing figured vowels and consonants, thus securing just 
as many distinct characters as there are elementary sounds in the 
English language, without the introduction of a single new letter. 

II. By giving a list of all letters and combinations of letters that 
ever represent these sounds, with the necessary exercises. 

III. By furnishing all needful rules, and ample and apposite direc- 
tions and explanations for instructors. 

lY. By an exhaustive, though simple analysis of English words, 
both as spoken and written. 

Y. By phonetic reading, embracing many words usually mispro- 
nounced, and all the difficult combined sounds of the language, thus 
securing what may be regarded as a complete vocal gymnasium. 

These TABLETS are used in some of the best Academies, Public 
and Normal Schools, and G-ymnasiums of the United States. 

Price, mounted on heavy hoards in card form, |4.00 ; in the 
best map form,, $6.00. 

Address 

SCHERMERHORK, BANCROFT & CO., 

130 GRAND- STREET, NEW YORK. 



In Press: 



WAT SON'S 

NATIONAL READING TABLETS, 

DESIGNED TO ACCOMPANY 

PARKER AND WATSON'S SCHOOL PRIMER. 

Colored and RlcWy lUuustrated. 

BY J. MADISON WATSON. 

WHILE these School and Family Tablets, accompanied by the Na- 
tional School Pkimer, are specially designed to precede Parker 
AND Watson's Series of Readers and Spellers, they may be used most 
advantageously with any corresponding works. 

Commencing with the words of one letter, and arranged in accordance 
with the author's well-known system of Word-building, they are restricted 
to monosyllables. 

The Cuts are decidedly superior to those of any other Series, faithfully 
illustrating the text, and affording the best facilities for the employment 
of Object Lessons in connection with Primary Reading. 

They will be mounted on heavy binder's board, 24 by 30 inches in size ; 
or sent by mail, in sheets. 



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